Paintings being living emotions. Mark Rothko
The atmosphere of a work of art, what surrounds it, that 'place' in which it exists - all this is thought of as a lesser thing, charming but not essential. Professionals insist on essentials ... not understanding that everything we use to make art is precisely what kills it. This is what every painter I know understands. And this is what almost no composer I know understands.
The Music of Morton Feldman, reprinted from his essay "The anxiety in art"
OUTPOST STUDIO July 2021
Loose Assemblages : The Movement of Ideas and Feelings
Touch and materials as a normative support/exploration for the theoretical gaze
Bento's Sketchbook : John Berger
Existence appertains to the nature of substance.
A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.
Ethics, Part 1, Proposition VII, Proof
Conscious minds arise from establishing a relationship between organism and an object-to-be-known. Damasio
Architectural Body
Organism-Person-Environment
Drawing is a form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.
The Human Body through drawing and philosophy
Berger/Spinoza 141
Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.
The defining point of agency is namely its potential to transform the given.
Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square
Improvisations/choreographed with the music/ambient noise are exploratory encounters between flesh and sound
A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise
Vibrant yet curiously passive form of urbanism
Affectivity as a mimesis of lively transfers between things, humans and non-humans
Human subjectivity : Mimetic Encounters/Explorations
Art works by gathering up forms and materials for affective experimentations in subjectivity
Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another.
Intentionality/Sympathy/Sentiment/Difference
Inducing a particular set of ethical/political/social responses in actor/social audience
Mimesis : Paradox or Encounter. Jane Bennett
Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh
Francesca Woodman
Mimesis and suggestion in the social,enacted through layers of mediation surrounding humans, objects and non-humans.
Camouflage. Neil Leach
Mimesis
Sensuous Correspondence
Sympathetic Magic
Mimicry
Becoming
Sensations in Space and Time (the experience/entanglement of phenomena and idea)
Agency/Foraging/Making/Gathering
Subjectivity is relational (always in process)
A Species of Making Spaces
Tentativeness, attentive to situatedness
A diffractive methodology enables a critical rethinking of science and the social in their relationality, moving beyond separate entities, separate sets of concern.
Karen Barad
Organism
Person
Environment
Arakawa and Madeline Gins
For Merleau-Ponty, Experience can only be understood between the mind and the body or across them in their lived conjunction.
The mind is always embodied, always based on corporeal and sensory relations.
Elizabeth Grosz.
Richard Serra : Verb List Compilation
Actions to Relate to Oneself, 1967-1967
Drawing in its frameworks and dimensions/presence and absence/its here and elsewhere
Exploring the fragility of a painting in the landscape
Canvas as sheltering construction, Raveningham Sculpture Trail
Diagram-Map-Chart, is a symbolic depiction emphasizing (mapping) relationships
Diagrams For The Imagination : Arakawa
Apokatastasis : Jim Jarmusch, Jozef Van Wissem
Litany Of Echoes : James Blackshaw
New Music, for old instruments : Paul Metzger, Jozef Van Wissem
Brilliant Trees : David Sylvian
Body As Cultural Product
Both psychic and social dimensions must find their place in reconceptualizing the body, not in opposition to each other, but as necessarily interactive.
Volatile Bodies/Chaos-Territory-Art : Elizabeth Grosz
Spatial Asperity/Mesh, Membrane and Gauze, Möbius Strip, Pattening,
Actuality : Robert Mangold
Paintings around the particles/flows of things/boundaries/intervals of presence and absence
Induction/Capacitance/Encapsulated Layers
Drawing and its attempts to map out/make visible contingent things
Contingency, is what remains, as it comes up against causality/constantly passing through
Objects/Things conceptualized by the exploration of drawing (intervals of blindness)
Linking Surface to the Aesthetic Experience of Space.
Experiences incorporating interests with environmental textures into Art.
Points of Contact/Confluence of Circumstances
Materials bound by contact/canvas
Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,
A philosophy of Reading/Matter/Rooms,
The Lake of The Mind
Stochastic Thinking, Steven Holl
Solitude/Libraries : Cell/Court/Domain
Capacitance, relationships between intensities and movements
Clay, Waxed Surface, Liquid Rust, Calico,
Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things
Flesh, elementary pre-communicative, subject and object develop.
Making as Growth : Tim Ingold
Social Architectures/Anthropologies/Imaginary Projects/Interfaces/Screens
Timothy Morton : Realist Magic
The elasticity of sensation, affective and wonderous
Sally Mann : Matter Lent/Collodion wetplate negatives
Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,
Paintings/Enactments : Canvas as a spatial verb
Espace-Milieu, painting as environment/entanglements and situations
Ceramic/Process and its theoretical objects
As a series of practices, making reality by bringing things together or separating them into their singularities, or making machines/desiring machines
Desire can be seen as an Actualization
Gathering Notations : Bernard Tuchumi
Both presence and absence are coupled in this framework
Deleuze/Guattari
Glass/GLAS : Resistivity/Inclusions, A Field in England.
Translucent aesthetics, beyond the opacities of the sensible the rational.
An image that adequately expresses both the efficacy and the temporariness of the phenomena ( joining a diffused/invisible flow of energy, a breadth that wends its way ceaselessly through the world). Animating it as it goes.
Vital Nourishment, Departing from happiness, Francois Jullian.
What is a body capable of -
Spinoza
Building/Making, into the theoretical performative object (that does theory)
Albers/Clarke : Interactions, Counterpoints, Intervals between colour/forms,
Membrane, Discursive, Diffractive, Sensory, Layered and Filtered Light,
Body, Movement, Mind, Assemblages, Exploratory, Speculative, Choreographic,
Deleuze/Guattari, understand the body more in terms of what AFFECTS it is capable of, instead of the consequences of having a body.
Peter Zumthor : Thermal Baths
Human Agency/Temporal transitions between matter and movement.
Immaterial/Concrete/Water : Bodies in contact/the corporeal social human body
Manifolds/Theory of Temporality/3 Synthesis of Time
Memory Past Preserved Condition
Present Habit Instants Agent
New Future, actual/virtual Creation of The New
Multiplicity, purality of contemplating souls.
Asymmetries between particular past and general future.
Temporality involves multiple interacting processes.
Architecture becomes Spatial Agency
We all make space : Jeremy Till
Paintings, space, volume, surface, passages, actualizations, claddings/camouflage
One conceives and reads a building in terms of sequences, both phenomenological and filmic, reading a space by its depth of field, its thickness.
Turbulence House, New Mexico, Steven Holl.
Aesthetics/Asperities : Resultants that incorporate the friction (asperity) of their trajectories through a medium. Tilt-up concrete construction, Chapel of St, Ignatius, Seattle. Steven Holl.
Navigations and Vectors/conduits/intervals and traces between discursive practices.
Wrapped Silences : Assembled Sectional Elements/Thresholds
Surfaces on Mourning/Samsara, a beauty fed on emptiness
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