Spatial Drawings : Mattering Environments/Contruction and Collage.

Ann Cline
A Hut of One's Own
Life Outside The Circle of Architecture.

Herzog  and De Meuron
NATURAL HISTORY

Reading Into the Visual : Another Photography/Exploratory Images

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Photography/A Fragmentary Whole : The Temporal Flow of Things

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.

“Philosophy is really homesickness,” says Novalis: “it is the urge to be at home everywhere.”

Literary cartography is not a literal form of mapmaking, after all; rather, it involves the ways and means by which a given work of literature functions as a figurative map, serving as an orientating or sense-making form.

Lukács’s Literary Cartography:

Spatiality, Cognitive Mapping, and The Theory of the Novel

Robert T. Tally Jr.

Path : Circular, Stonehenge

Transparency,time and matter #2

Camera Obscura : Kilquhanity 2011. #4

Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".

Blue Spaces : White Absences #2
https://visualartpractices.wordpress.com/

Walking into Emergent Landscapes : Covehithe Beach
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

London/Millennium Bridge : Architectural Abstracts/Drawing Traces

Speculative Drawings/Paintings/Projects : Choreography of Light /Becoming Spatial/Figural

Immateriality and Transparency

DSC_2038 Biomedical : Architectural Glass Design
2014 Stevens Competition
Cambridge University Hospitals
Biomedical Campus

Photography and Drawing
Marks and movements of precision and indeterminacy

Outpost 240222

Procession

Choreography of light for the moving eye.

Henry Plummer, 2009.

The Interplay of Light and Movement.

The visual attraction that can electrify space with strong perceptual and emotional forces.

Simulacrum, E.ON Munich, Andreas Horlitz, 2006.

'Art in construction' is a wall installation that describes a superimposition of different systems for interpreting the world. Astronomical motifs are superimposed on micro array structures, while lines of force from the world of electricity and imaged quotations from that of quantum physics are, in turn, superimposed on the astronomical images.

Andreas Horlitz no longer saw photographic images as images intended to reflect reality, but rather as raw material to be worked, a source of artistic creativity. Photography simply supplies the material that the artist then reorders and combines in order to establish another unexpected sensual context and thus provide insight into what we perceive as reality. For Horlitz the idea of the image detail, its meaning as part of a larger reality, and the idea of superimposition have been present in the artist's work from the very beginning.

Horlitz's pictures raise the question of whether photography is even capable of reproducing the complex structures of reality.

Barbel Tannert.

Primal Images, Gaston Bachelard's loss and then recovery of light in darkness.

Due to its power to seduce and attract, light has always played a pivotal role in successions of space  that are rewarding and memorable.

Immateriality and Transparency.

Technique and Expression in Glass Architecture.

Pallasmaa, 2003.

Anglian Potters

Undercroft, Norwich.

Ferini Gallery, Lowestoft. 

Gas Reduction Firing.

Architectural Ceramics.

Re-Installation of 20 cubic foot kiln surrounded by building materials.

 

Forming Inside Spaces

Propositions on Architectural Objects/Spaces : Hand-built slab ceramics.

Raw clay slips/oxides/glazes, paper stencils and other intermediary materials.

Post reduction, wood chippings, wire inclusions and wrappings/layerings.

Studio Thinking/Sensory and Sensate : The body in contact with its mattering.

Collage explorations between the division of things.

Immaterial and concrete materials in contact with the corporeal human/social body.

Peter Zumthor, Therme Vals, 1996.

Beyond the symbolic depictions of diagram/map or chart and their mappings/relationships.

Further Study : Working Title

Transitions : Intervals in visual thinking.

Passive/Kinetic Fields : Spatial surfaces of agency between Fine Art, Performance and Architecture.

Capacitance as a working condition/spatial agency of a diffractive art based inquiry/practice.

Definition/Physical Phenomena/Concepts used to attach feelings to things.

Displacements/Situatedness/Patterning/Redundancy.

Capacitance and its relationships, movements between space, surface, volume and subjectivity.

Bitumen Paintings/Pierced Membranes : Encapsulated Layering/Textile

Social noise cancelling art works derived from sound deadening pads.

Baffles/Filters : Spatial Intermediaries.

Richard Serra : Paint Stick Drawings.

Reading Matter and Rooms

The Lake of The Mind/Stochastic Thinking : Steven Holl.

Temporal Surfaces : Moments of Translucency/Halting the camera's fetishising gaze.

Pinhole oil drum camera traps a vechicle in its shallow and temporal depth of field. 

Sun Street , Canterbury.

Digital prints from two paper negatives (45cmx60cm)

DSC_1930 Sun Street : Canterbury
DSC_1926 Sun Street : Canterbury
DSC_1927 Sun Street : Canterbury
DSC_1944 Sun Street : Canterbury
DSC_1931 Sun Street : Canterbury

Dark Renderings : Pages from Artist's Books

Photographic Process/Thinking
Drawings : Speculative Constructions in Photography

Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts.  As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same.  Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

http://www.iep.utm.edu/deleuze/

Layered Landscape

"Thus we cover the universe with drawings we have lived. These need only to be tonalized on the mode of our inner space."

 

Gaston Bachelard.

The Poetics of Space.

On Land/Ambiguous Temporality : East Anglia/North Sea/Boundaries of Subjectivity

As time itself becomes anachronistic through the process of the darkroom.

The handcrafted image, resurfaces in its uncanny return, comes to rest as spatially marginal.

Both a slowing down and a quickening at the very moment of exposure.

Photographs haunted by the memory of their production.

Hybrid Musical Sources : Astronomical Mappings/Spatial Propositions and Intervals

Amorphous Photography : Star Trails


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

Unheimlich Collages : Making Strange/The Handcrafted Object

The uncanny return of an object back into the social/spatial register of things.

Indexical Inscriptions

Found Imagery

Past Constructs

Anachronistic

Outmoded

Temporalities

Heuristic Material : Collage 

1. encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.

2. serving to indicate or point out; stimulating interest as a means of furthering investigation.

Unheimlich Collages : Making Strange/The Handcrafted Object

Aesthetics of Silence : Susan Sontag

Art becomes the enemy of the artist, for it denies him the realization, the transcendence, he desires.

Every era has to reinvent the project of “spirituality” for itself. (Spirituality = plans, terminologies, ideas of deportment aimed at the resolution of painful structural contradictions inherent in the human situation, at the completion of human consciousness, at transcendence.)

 

Krishnamurti claims that we must give up psychological, as distinct from factual, memory. Otherwise, we keep filling up the new with the old, closing off experience by hooking each experience into the last. We must destroy continuity (which is insured by psychological memory), by going to the end of each emotion or thought. And after the end, what supervenes (for a while) is silence.

In the modern era, one of the most active metaphors for the spiritual project is “art.” The activities of the painter, the musician, the poet, the dancer et al, once they were grouped together under that generic name (a relatively recent move), have proved to be a peculiarly adaptable site on which to stage the formal dramas besetting consciousness, each individual work of art being a more or less astute paradigm for regulating or reconciling these contradictions. Of course, the site needs continual refurbishing. Whatever goal is set for art eventually proves restrictive, matched against the widest goals of consciousness. Art, itself a form of mystification, endures a succession of crises of demystification; older artistic goals are assailed and, ostensibly, replaced; outgrown maps of consciousness are redrawn. But what supplies all these crises with their energy — an energy held in common, so to speak — is the very unification of numerous, quite disparate activities into a single genus. At the moment at which “art” comes into being, the modern period of art begins. From then forward, any of the activities therein subsumed becomes a profoundly problematic activity, each of whose procedures and, ultimately, whose very right to exist, can be called into question. Following on the promotion of the arts into “art” comes the leading myth about art, that of the “absoluteness” of the artist’s activity. In its first, more unreflective version, this myth considered art as an expression of human consciousness, consciousness seeking to know itself. (The critical principles generated by this myth were fairly easily arrived at: some expressions were more complete, more ennobling, more informative, richer than others.) The later version of the myth posits a more complex, tragic relation of art to consciousness. Denying that art is mere expression, the newer myth, ours, rather relates art to the mind’s need or capacity for self-estrangement. Art is no longer understood as consciousness expressing and therefore, implicitly, affirming itself. Art is not consciousness per se, but rather its antidote — evolved from within consciousness itself. (The critical principles generated by this myth were much harder to get at.) The newer myth, derived from a post-psychological conception of consciousness, installs within the activity of art many of the paradoxes involved in attaining an absolute state of being described by the great religious mystics. As the activity of the mystic must end in a via negative, a theology of God’s absence, a craving for the cloud of unknowingness beyond knowledge and for the silence beyond speech, so art must tend toward anti-art, the elimination of the “subject” (the “object,” the “image”), the substitution of chance for intention, and the pursuit of silence. In the early, linear version of art’s relation to consciousness, a struggle was held to exist between the “spiritual” integrity of the creative impulses and the distracting “materiality” of ordinary life, which throws up so many obstacles in the path of authentic sublimation. But the newer version, in which art is part of a dialectical transaction with consciousness, poses a deeper, more frustrating conflict: The “spirit” seeking embodiment in art clashes with the “material” character of art itself. Art is unmasked as gratuitous, and the very concreteness of the artist’s tools (and, particularly in the case of language, their historicity) appears as a trap. Practiced in a world furnished with second-hand perceptions, and specifically confounded by the treachery of words, the activity of the artist is cursed with mediacy. Art becomes the enemy of the artist, for it denies him the realization, the transcendence, he desires. Therefore, art comes to be estimated as something to be overthrown. A new element enters the art-work and becomes constitutive of it: the appeal (tacit or overt) for its own abolition — and, ultimately, for the abolition of art itself.

https://www.opasquet.fr/dl/texts/Sontag_Aesthetics_of_Silence_2006.pdf

https://www.brainpickings.org/2015/07/06/the-aesthetic-of-silence-susan-sontag/