Outpost 070922
Radical Perspectives.
Space-time Manifolds.
Intertwined cinemas within a bottle of light.
Fissure space reflection on underside of suspended cinemas.
Concept Studies/Diagrams.
Space was perceived by the body moving through time.
Parallax, Steven Holl.
Plastic Media
Performative Apparatuses.
The Observer and The Observed.
A return via the time exposures to the unexpected and a intricate order made up of patterns, movements and constellations.
New thrilling metaphorical structures.
Beyond the purely visual, to get a flat surface to interact with physical phenomena, which would be recorded without any intervention or involvement. Photographic events in which some images recorded very determined fixed forms, and in other time-exposures the images became more about traces and about movement.
Susan Derges.
Infra-ordinary
Dust Breeding.
Giacometti's Cell/Studio.
A Species of Spaces.
Intra-acting
Contemporary Architectural Practices.
Spatial Practices/Visual Fine Art.
Quantum Superposition.
At the moment a measurement is made in Beijing, everything remains in quantum superposition with respect to Vienna. The equipment making the measurements, the scientists reading them, the notebooks in which they are written down, the messages in which the results of the measurements are conveyed, are all quantum objects themselves.
Helgoland,Carlo Rovelli.
Quantum intra-acting
The concretization of colour as substance/matter/movement/agency.
Beuy's brown and Klein's blue form a pair of opposites, according to the hermetic-alchemical world view, such opposites contain the arcane power of polar dissimilarity that seeks to be augmented and joined together.
Beuys Brown and Klein Blue, Magdalena Broska.
Elective Affinities
Susan Derges/Garry Fabian Miller.
The direct use of physical materials, the interest in systematic experimentation and a preoccupation with the fluctuating perception of events depending on the position of the observer and the nature of the light.
Through the realm of perceptual experiences.
Both art and science alter our perceptions and knowledge, whether from philosophy, science or the arts it filters down into our general awareness to affect our world view.
Wondrous essences put back into existence, through re-achieving a direct and primitive contact with the world.
Plastic media, time based immateriality.
Surface interactions produced from physical phenomena made visible.
Metaphors for phenomena
Patterns as either/both particles and waves.
Unknowing Expectation.
Prints of a scientific exactness.
This reduction of process down to such a simple method.
He felt amazed by the clarity of the procedure, it seemed incredibly releasing and radical, and something to aspire to.
Working series that focusses on the immense through engagement with the specific.
Homeland, the body gains access to the world as a way of living and working.
Making a garden after the making of the mornings pictures, feels like the right way to fill the hours which remain in the day.
Field Studies/Kilquhanity.
Building template for positioning of circulatory pathways.
Garden drawings and sculptural mappings of the passage of sunlight.
Shifting relationships of the real world have been assimilated into her imagery.
In particular her world view was affected by the ideas of contemporary physicists.
New possibilities for plastic media has been that phenomena are no longer seen as static entities in space and time, but as dynamic and interrelated with specific structured laws and principles.
The Darkroom as cell and workroom, a room apart from the world.
Science, Order and Creativity.
David Bohm.
The Implied Observer
Towards an understanding of how matter comes to matter.
Performativity is precisely a contestation of the excessive power granted to language to determine what is real, performativity is actually a contestation of the unexamined habits of mind that grant language and other forms of representation more power in determining our ontologies than they deserve.
Thingification, the turning of relations into things, entities, relata, which infects much of the way we understand the world and our relationship to it.
In Posthumanist Performativity, Karen Barad advocates agential realism as an alternative to representationist ontologies that split semiotic from material reality.
Barad argues that matter is not a substance but an intra-activity, and that agency is not an exclusively human attribute, but rather the enactment of iterative changes across macro/microscopic levels of matter.
Matter is performative in that it reproduces itself through the effects of its own intra-active dynamic material relationships. Relata do not pre-exist these relationships, but emerge through them in the fluid, diffractive boundaries that crystalize phenomenon/matter into things/thingification that are positioned in a spatial-temporal affective relation.
The subject/object dichotomy is performatively enacted through the specific spatial temporal proximity between the two necessary for apprehension, in which the approximal relationship through which subject and object emerge. The cognitive split that constitues the I is a discursive practice called the agential cut which is a conception of separability between one thing and another that grants the illusion of agency.
For Barad, discursive practices are not only linguistic expressions of human language, but extend to other material specific practices of intra-action entangled with other intra-actions that produce material phenomena. The material apparati which constrain, but do not over determine these practices find within their own diffractive limits possible dynamic reconfigurations of the world.
Because being is not a static relationality but a doing, that always entails constituting exclusions, a posthumanist engagement with performative matter must not only account for the sites of human/non human cuts, but also challenge the ethical stakes of such cuts.
Summary Notes : Karen Barad, Posthuman Performativity, S.A. Colclough.
Intra-actions produce material phenomenon.
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