Friday, 3 May 2024

Reading : Slow Philosophy/Ecology of Material Thinking

Orange School Graph Books 

Harleston 2020-2021








A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy


Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010


The social life of making

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve 


Making becomes a process of iteration, and a maker works with this iteration prolifically 


Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things

Jane Bennett 2010


Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010


New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay


The transformation of the material is a central concern and semiotic significance unfolds with making

Seeking a symbiotic relationship between idea and object 


Materials are substances in becoming

Karen Barad


Towards an Ecology of Materials

Tim Ingold 2012


From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis

 

Materials-Centered Perspective


Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

Tim Ingold 2010


Cultures of thrift and scavenging, maintenance and repair

Making encompasses the ingenuity of fluid, locally situated and adapted technologies


Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them


Sensibilities and dispositions that are centred on a deep and considered relationship with materials

The Craftsman, Richard Sennett 2008


Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers


Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate



Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability


The emergence of the museum as proactive laboratory of social evolution


Extradisciplinary Investigations/Operative Principle

At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice


Microtopias, small contained sites of functioning democracy


Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline


The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)


The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary 


So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002


Collaborations and its Discontents

Claire Bishop 2006


The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions


A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour  


New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative


Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's


New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006


Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it


The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries


Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011


Site-Specificity/Spatial Practice

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997


Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection


Expressing itself expressing 


Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions


Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact


The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement


Making vessels, beyond the examining and intellectually impoverished questions 


A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside


Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce


Like the vessel, the house shapes and nurtures the life contained inside


The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017


Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice


'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey


Ceramics In The Environment 

An International Review

Janet Mansfield 2005


With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility 


Raku as an Ideology

Breath-Energy-Immanence


Raku, A Review of Contemporary Work

Tim Andrews 1994


The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler


The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world


Arte Povera/Germano Celant, an aesthetic-philosophical movement

An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen



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