Hidden Curriculum #2

Hidden Curriculum #2, a photo by Russell Moreton on Flickr.

Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.

Working Towards a Secular Retreat in the Landscape.

Sociological Organisation/Groups : Theoretical Propositions/Transactive Memory

Theoretical Propositions (Groups) around The Abbey
Collage and Life Drawings

Transactive  Memory Development in Virtual Teams

There is no theoretical requirement that groups exist only in face-to-face environments. In fact, McGrath's definition of a group - an entity that interacts, is interdependent, mutually aware, with a past and an anticipated future (McGrath, J.E. Groups: Interact and Performance.1984 :6) - makes no mention of the form that interaction must take.

Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale,

DSC_0010 Reading Room : Collage/Waverley Abbey
DSC_3153 Life Drawing
DSC_3157 Life Drawing
DSC_3148 Life Drawing

Mapping Under The Dome : Dark Tones/Alternative Photography

Darkness is a better form of freedom
Therese Oulton, in conversation, January 2013
Women In Dark Times
Jacqueline Rose

Jozef Van Wissem & Jim Jarmusch
The Mystery of Heaven
Sacred Bones Records. 2012

Everyone Stands Under His Own Dome of Heaven 1970

'Each man has his own dome, his own perceptions, his own theories. There is no one god for all'
Anselm Kiefer

In paintings of often stunning luminosity, Therese Oulton manages to paint us into the darkest spaces of our times.
A form of experience permanently menaced by itself.
Jacqueline Rose





https://www.flickr.com/photos/russellmoreton/39854735761

The Mirrored Abbey : The Photographic Aesthetics of Decay

The Custodians, Richard Cowper 1976.

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness

https://russellmoreton.wordpress.com/

Visual Mappings : Working Collages for Sequences and Spaces

Extract from Peter Zumthor, Hortus Conclusus 2011.

Directors’ Foreword: Julia Peyton-Jones, Hans Ulrich Obrist.

Zumthor’s architectural design practices consider each project in terms of a comprehensive and encompassing sensory experience. Looking at more than the physical fabric and form of the building, he often draws inspiration from memories of childhood experience. His projects aim to reference all aspects of sensory perception, addressing the relationship between the human body and the ways it may interact within the built environment. Many of Zumthor’s projects have been specifically noted for their thoughtful and evocative play on scale, colour, material and light in harmony with the buildings function and surroundings. (Peyton-Jones 2011: 9)

Waverley Site

Hortus Conclusus

Sensing Spaces

Oculus Pavilion

Variegated and mutable veiling of transparencies through sunlight and a gentle breeze.

Shadow (voids) and Forms (layered movements)

Permeable membrane (time passes through here)

The River (Jackie Leven/Kenneth Patchen,The Skaters) a corporeal presence on loss, memory/absence, subjectivity and flow.

Kengo Kuma. Complete Works, Kenneth Frampton.

‘Our aim is to create architecture that confronts and fuses with the earth.’

‘Architecture should not be cut off from the ground like a building designed and transported to the site.’

Kuma’s ‘anti-objective’ architecture is anti-perspectival in that it is categorically anti-thetical to the subject/object split of the occidental tradition.

‘The asymmetrical projection of the Water/Glass volume, derived from the diagonal platform of the Noh stage, makes it explicit that there is no single ideal point from which this waterborne scene may be experienced.’ (Frampton, 2012:12)

Katsura Aesthetic.

Non Corporeal Architecture ( 2001 A Space Odyssey, the final room with its dematerialised phantom character of absence and voyeurism)

Japanese Vernacular, Void/Ma space, Translucency, Sequence of Spaces,  

  

Pastoral Space : Material, Inquiry and Craft

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Drawing intervention and speculative sculptural environment.

Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

Transactive Memory : INFORMATION/MOVEMENT differentiated/integrated

Research Outpost Norwich #1

Transactive Memory
Systems Virtual Teams
The Body
Minds and Metaphors
Laban-CHOREUTICS

The Mind In The Cave
David Lewis-Williams

The Matter of The World
Minds and metaphors
Cathedrals of Intelligence
The 'Looking mind'

Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale

Acquisition/Sharing of Implicit and Explicit Information

Organisations increasingly rely on teams to do much of the work traditionally accomplished by individuals.
Successful groups are those who are able to create synergies in the form of information aggregation and innovation that is beyond the ability of any single member.

Nascent Knowledge
Information Diversity
Task Conflict

The knowledge and perspectives of group members from the same social networks may be more redundant than diversified. However a total diversity among work group members is not desirable; some 'redundancy' (agreement in perspective) among group members is necessary to ensure enough common ground to facilitate successful group interaction.

Transactive Memory : Knowing and Accessing What We Know

For teams to have synergy they must be able to access their information, it is important to know who does what.
Wegner 1987; 1995)

RELATIONAL DEVELOPMENT
TIME
Synchronous/ Asynchronous
COMMUNICATION

Transactive Memory : A Contemporary Analysis of the Group Mind
Daniel M. Wegner

The study of transactive memory is concerned with the prediction of group (and individual) behaviour through an understanding of the manner in which groups process and structure information.

Individual Memory
Information is entered into memory at the encoding  stage, it resides in memory during a storage stage, and is bought back during the retrieval stage.

Organisation : differentiated/integrated
Label
Location

THE LABAN SOURCEBOOK
Dick McCaw

Rudolf Laban (1879-1958) was a pioneer in dance and movement, who found a extraordinary range of application for his ideas; from industry to drama, education to therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.

Diagram : Three Planes of Movement from Choreography
Inner and Outer Tension : Inner and Outer Form

CHOREUTICS : Principles of Dynamic Space and Movement

Choreutics presents the grammar and syntax of spatial form in movement and the nature of movement's harmonic content.

Effort
Exertion of Power, Physical or/and Mental

Force
Space
Time
Flight

Indulging/Contending
SPACE Flexible/Direct
WEIGHT Light/Strong
TIME Sustained/Quick
FLOW Free/Bound

Shadow Moves
An acute observer of Shadow Movement of a person in different situations and at different times will show the consistency of that individual's basic attitude and personality.

Effort and Recovery
Movement Psychology
Thinking
Intuiting
Sensing
Feeling


 

Flickr

Visibility Reconceived : Haptic Vision/Subjective Possibilities, blueprints, paintings, collage.

 

Study Space : Outpost Studios

The Event Of Life Drawing

Haptic Vision

Mattering : Mind-Movement-Material

In and Out of Material. Tony Cragg

Becoming a subject in wonder. Lone Bertelsen

Francesca Woodman's photographs can help us develop a photo-thought that does not conceive of the photograph as a passive “representative image” but as a creative force that can participate in the production of new subjectivities. 

Chaosmosis. Guattari. 1995

What moves as a body.

Returns as a movement of thought.

Relationscapes : Movement-Art-Philosophy. Erin Manning.

When we see a male figure on a pedestal, we ask “who is it?” 

while a female figure prompts the question “what does it represent?” 

Monuments and Maidens : The Allegory of the Female Form. Marina Warner. 1985

Deleuzian accounts of drawing

Sex and gender in Life Drawing

Francesca Woodman : Whirling/Wonder

Equivalence and an intimate mode of noticing details

Manuel Neri : Female/Other (glorified and brutalized)

Ambivalence within hostile intimate relationships/materials

The primacy of drawing, artists and anatomy. Petherbridge.

Cultural Anatomy

The Naked and Nude Posed

Mirror, Fiona Banner. 2007

Modelling Subjectivities

Life Drawing

Popular Culture

Contemporary Art Education

Manuel Neri

The Figure Drawings

Life Drawing

A Body Of Relations

Spatial Apparatuses/Screens and Easels

Painting and drawing the nude : a search for a realism for the body through phenomenology and fine art practice

K Wallis, 2003. PhD thesis

ANTHROPOLOGY/LANDSCAPE : Urban Materiality/Movement and Relationscapes

Research Outpost Norwich #2

RELATIONSCAPES
Movement, Art, Philosophy
Erin Manning

Prelude : What moves as a body returns as a movement of thought

Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.
Gilles Deleuze, Difference and Repetition

AN
ANTHROPOLOGY
OF
LANDSCAPE
Christoper Tilley, Kate Cameron-Daum

Materiality
From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.
It forms a material medium in which we dwell and move and think.
Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.
Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.

Field Observations
Spatial relations within the landscape are complex.
The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.
Embodied Identities
Art in and from the landscape
Fragile Environments : Nature and Culture

On Ways of Walking and Making Art
A personal reflection
M Collier
Making art is a practical application of phenomenology
Engaging  with an embodied experience of space and depth (what Merleau-Ponty called the 'flesh of the world').

WATERLOG
Journeys Around An Exhibition
Landscape and Memory

AFTER SEBALD
Essays and Illuminations
Edited by Jon Cook

Cyanotype Drawings : Works on paper

Terrestrial Movements :  #2  Solar Spore.

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

Aerial Composition (movements inside the Cathedral) : Cyanotype and Sunlight.

P3228227a : Engineering Blueprint on Watercolour Paper.

Experimental Vision : Research Collage #1

Body, Personal Relations, and Spatial Values.
Composition, Concept, Object.

Space is an abstract term for a complex set of ideas.

The photogram is the immediate result of a constellation of light, three-dimensional object and photosensitive material.

Experimental Vision
FROM BEYOND VISION
Photograms
Flouris M. Neusus

Work in the light laboratory was a standard part of the curriculum.

The photogram became a functional element of a personal time curve, allowing the artist to continually endeavour to see or put phenomena into new relations.

Moholy-Nagy and the Chicago Bauhaus
Thomas Barrow

THE COLOUR OF TIME
Garry Fabian Miller

The Majesty of Darkness
Adam Nicolson

The Unmade
The Pregnant
The Half Erotically Unmade

ADYNATA- Time's Colour, impossible Beauty
Marina Warner

TIME AND LIGHT
Nigel Warburton

TRACING LIGHT
David Alan Mellor
Garry Fabian Miller

Derrida
Blindness
Butades
Trace and Trait

Karl Blossfeldt
WORKING COLLAGES

Deconstruction of The Photographic/Unfinished Becomings : Research Collage #2

Blue Folder/Contents and Contexts of Interpretation
Texts, images, taxonomies, books, maps, characters

The Birth of Photography

The Experimental Period 1829-55
View from the Window at Le Gras (1826-27)
Nicephore Niepce

Library Window, Lacock Abbey (1835)
William Henry Fox Talbot

Sir John Herschel (1839), reveals that sodium thiosulfate can permanently 'fix' a photographic image

Photography and The Modern
Experimentation and Abstraction
Cut with the Kitchen Knife 1920 Hannah Hoch
The Constructor (Self Portrait) 1924 El Lissitzky
Avant-Garde Photography In The Weimar Republic
From the Radio Tower, Berlin 1928 Laszlo Moholy-Nagy
Photography Deconstructed
From Postmodernism to Globalization 1977-Present

I Am Not This Body
Barbara Ess

Reality requires a perceiver who has memories, thoughts, desires, emotions and beliefs that intersect with the phenomenal world.

The archaic immediacy of the pin-hole camera,
The Truth and The Grotesque, ambiguous perceptual boundaries between people, between the self and not self, between in here and out there.

Life Is Subjective
Reality includes a perceiver through whom experience is filtered.

The Physical reality of the world is recognised as/by its shadow within the mind, its negative then inverted entities that both exist simultaneously and emanate from the same phenomenological origin.

Floris Neususs
The size of Photograms is one of the sources of their particular power : they always portray subjects to scale, unlike photography, in which the size of the image is arbitrary, and most usually depends on the size of the print, rather than the object that has been photographed.

Nudogram of Pregnant Woman 1967
Silver Gelatin Print, 190x64.5cm
Whole body photograms can  communicate intimacy, but in another sense  they can create detachment.

SHADOW CATCHERS
CAMERA-LESS PHOTOGRAPHY
V&A London  2010-11

The Momentum of Things, becomes self sustaining

TWILIGHT : Photography in the Magic Hour.
Martin Barnes, Kate Best.

One needs infinitely distant sentences that one barely understands, as a mainstay over the millennia.
The Human Province, Elias Canetti.

The Momentum of Things, becomes self sustaining.
Untitled 1983/84, Bill Henson.

Collage, photocopies, mesh, text, non spaces.

Drawing, tissue paper, tape, body outline with astronomical data on paper.

Andover Installation : October at the Chapel.

Inscriptions/Undoings of Birth/Becoming : Ambiguities of figure/ground, subject and world. Photographic Drawings #4