Outpost 090222
Architectural Body/Procedural Architecture
Organism/Person/Environment
Earth, House, Hold, Dwelling Places.
Unlike the sense of sight or hearing, only the sense of touch can discern space and time at once.
The skin as the harbourer of a subjects sense of touch.
Skin/Subjectivity becomes as flesh a connective tissue which both unites and divides.
The skin can judge time less well than the ear, and space less well than the eye, but it is skin alone that combines the spatial and temporal dimensions.
Maternal Skin/Subject Formation, Anzieu.
A Field in England : On the nature of Photography.
Between Art and Information.
Brought to Light : Photography and the Invisible.
The Visible/Invisibility between the potential of things.
The Photograph and The Lacanian Mirror.
In which identity is constantly shored up and broken down, but also as a persistent space invested with the paradoxical qualities of intimacy and alienation, of proximity and utter detachment all through which an offer of an encounter is held out in invitation.
Inter-Subjective Encounters, a space in which the subjectivities of the artist and the spectator might meet and mingle.
The skin is the surface through which self and other are mediated.
The mutuality of touch itself is echoed by the skins structure, it both touches and is touched and this duality is reflected in the way the skins surface is exposed to the outside world, whilst also protecting and containing the unseen interiority of the body.
Harriet Katherine Riches, 2004.
Light and Spaces of Intersubjectivity.
Tactile Light.
The photograph holds out the promise of an encounter through its carnal medium.
For Riches, the self-representational photograph becomes a kind of veil or mask, a displaced surface whose skin-like relationship to the subject is always suspended, and perpetually deferred. It frames a space of contact and a fantasy of union with the original subject, the photograph's skin-like quality also enables it to be imagined as an inter-subjective space of exchange.
Light creates the spatiality/transitions that passes beyond subject/object relationships.
Skin/Surface/Subjectivity : Movements in thinking through Spatial Agency
Skin becomes a site of symbolic acts of aggression/gesture.
Surfaces of suggested pain/experience through which subjectivity is created.
Conduits of colour specificities and counterpoints
Relationscapes : Movements, created through colour temperature and spatial contact.
The phenomena of things being brought into perception/focus.
Through a body every colour creates movement and has its own/creates its own perspective/its mapping/layering/extension of spatial temporal material.
Analogies/Difference : Spaces created through mimesis,wavelengths intermingling with the spatial.
Glass/Lead/Filtered Light.
Glass Slide/Subjectivities brought into the light
Colour Subjectivities, the appearance/experience of mattering material.
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