Outpost 160222
Hortus Conclusus, a serious place in the midst of mattering local ecologies.
Studio/Garden of forked paths
Substances, Materials, Making Drawings, Thinking Assemblages.
A drawing can be silly or crude, but locked inside it might be a little idea that given enough care and attention can rise above the rest of the orchestra and be heard individually.
Art as a clear and synthetic understanding of structured relationships that reveal innovative space-time through hidden sources of line and light, that suggest what art might become.
Brian Clarke.
Spatial Agent : Camera Tin/Molecular Sieve 115
The theoretical apparatus that practices physical movements and theory.
Grisaille/Procedural/Performative Grounds and Scripts/Double Occupations.
Speculative inquires, creative agencies that move through material thinking.
Diffraction as a tool for analysis that attunes us to the differences generated by our knowledge making practices have on the world.
A diffractive methodology is a knowledge making process that uses utilises and explores on going differences between phenomena. Diffractions open up ways for greater sensitivity towards how we are part of the worlds continuous becoming.
Barad.
Paintings/Discursive Drawings around capacitance, interval,patterning and redundancy.
Diagrams for the imagination
Social noise cancelling artworks/bitumen, felt,foil,ceramic and lead.
Filtered Light/Projections and Transitions
Procedural Architecture/Assemblages and Environments
The Nature of Light and Colour in the Open Air (1954), Marcel Minnaert.
Minnaert offers a basis for understanding how myriad phenomena are concretely produced in the ordinary world. As opposed to Goethe's subjectively written Theory of Colours (1810), whose conjectures were based on personal examination unhampered by physics, Minnaert blends careful observations of luminous effects with analysis of how those effects are generated by physical modulations of light.
His work not only helps to throw attention onto light's beauty and mystery in the daily environment, but also treats those phenomena as palpable qualities that can be consciously perceived and described, and to some extent causally understood according to how light is modified when interacting with material things.
The Architecture of Natural Light.
The Re-discovery of Ephemeral Light.
A Return to Things.
Light is not so much something that reveals, as it is itself the revelation.
James Turrell.
On Phenomenology, a phenomenal way of thinking and seeing.
When one is filled with wonder, a method of examining phenomena through intensified seeing and sensing, as opposed to intellectual abstractions and constructions.
The broad import of phenomenology for architecture, and for understanding the role of light in places we care deeply about, has gained a poetic dimension in the writings of Gaston Bachelard.
In his still astonishing book, The Poetics of Space (1958), and later in The Flame of a Candle (1961), Bachelard introduces the concept of a primal image, and locates the source of its imaginative power in simple archetypal places, ranging from nests and corners, to cellars and attics, and in metaphysical places such as the lamp that glows in a window, reveries of faint light, and spaces that participate in cosmic events.
The mesmerizing allure of images where light is fighting of darkness, argues Bachelard, originates in primordial memories that are only accessible through poetic imagination, daydream and reverie, sublimations that lie below rational thought.
The Other Architecture/Constructing Metaphysical Space, Henry Plummer. 2009
The arts are the wilderness areas of the imagination surviving.
Claude Levi-Strauss.
The Practice of the Wild, Gary Snyder.
Cultures of wilderness live by the life and death lessons of subsistence economies.
The world is nature, and in the long run inevitably wild, because the wild, as the process and essence of nature, is also an ordering of impermanence.
Practice, meaning a deliberate sustained and conscious effort to be more finely tuned to ourselves and to the way the actual existing world is.
A Place in Space, proposes that we must ground ourselves in the dark of our deepest selves, and that a good part of that grounding takes place in communities, which exist whether we know it or not within the natural nations, shaped by mountain ranges, river courses, flatlands and wetlands.
The place-based stories the people tell, and the naming they've done, is their archaeology, architecture, and title to the land.
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