Outpost 220921
Loose Assemblages : The Movement of Ideas and Feelings.
The Sympathy of Things.
Lars Spuybroek.
‘If there is one thing we can learn from John Ruskin, it is that each age must find its own way to beauty’ writes Lars Spuybroek in The Sympathy of Things, his ground-breaking work which proposes a radical new aesthetics for the digital era. Spuybroek argues that we must ‘undo’ the twentieth century and learn to understand the aesthetic insights of the nineteenth-century art critic John Ruskin, from which he distils pointers for the contemporary age. Linking philosophy, design, and the digital, with art history, architecture, and craft, Spuybroek explores the romantic notion of ‘sympathy’, a core concept in Ruskin’s aesthetics, re-evaluating it as the driving force of the twenty-first century aesthetic experience. For Ruskin, beauty always comprises variation, imperfection and fragility, three concepts that wholly disappeared from our mindsets during the twentieth century, but which Spuybroek argues to be central to contemporary aesthetics and design. Revised throughout, and a new foreword by philosopher Brian Massumi, this is a new edition of a seminal work which has drawn praise from fields as diverse as digital architecture and speculative realism, and will continue to be influential as it wrests Ruskin’s ideas out of the Victorian era and reconstructs them for the modern age.
Xenotheka
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.
The Feeling of What Happens, Body, Emotion and the Making of Consciousness
Antonio Damasio. 1999.
Architectural Body
Organism-Person-Environment
Arakawa and Gins.
The Silent Transformations.
François Jullien.
To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption&;just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern&;specifically Chinese&;ways of thinking about time and processes of change.
Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought&;s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.
In The Silent Transformations, Jullien resituates Western philosophy by examining it in the light of traditions of thought that have developed from fundamentally different concepts and contexts. Jullien here opens a space for a new way of thinking, and this refreshing book will stimulate the interest of scholars in both Western and Eastern philosophy.
Xenotheka
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
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