Monday, 20 May 2024

Giving Sensations Place/Site/Raveningham Sculpture Trail : Subjective/Hypothesis/Bricolage/Tectonics/Working Scripts/Making Camps.

 

IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAIL 2018/2020

STIMULATING TENSIONS.

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.


Mediating/Architecting the experience of LANDSCAPE.

The building as nothing more than an exposition of itself.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.


A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE.




The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees



Art Practice as a Speculative Spatial Practice.

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.



The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.



SENSING AND SPATIAL PRACTICE.

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.



CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.

Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.

Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold.



A FIELD GUIDE TO GETTING LOST : Rebecca Solnit 

Experiential anthropology / Walking as 'being/becoming in place' 

Sensate, Sensing Sensuality, Otherness.





WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics/Making.







Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention



PLACES that transform Chaos into Cosmos, Karsten Harries



PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.



 



Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION 

FUSELAGE


THE CAMP/HUT

represents the true reality of things, Deakin.


MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.


WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018.


Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces, 

Brockwood Park School. Reimagining  Education 

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness. 

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner)

Getting Lost, Walking whilst deep in thought/embodiment in the environment 

Working Towards a Secular Retreat in the Landscape



Between PLACE and SITE.

Art Making  Agency/Spatial Agency.

Art Poverva, Materiality, Agency, Making, Nesting Building, 


NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language 


CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt, 

The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls.

Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.


TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe 

The Art of Sculpture

Moholy Nagy 

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time.


LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis





Supportive Material/Texts/Cyanotype Drawings from found objects


SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax  

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING


DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. 

A Land, J Hawkes.


FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness. 


PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.



COLOUR AS CONDUIT.

PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION


PIERCED /DAPPLED NATURAL LIGHT


DIFFERENTIATED SHADOW /SURFACE


EXTRAORDINARY MATERIALS.

TECTONICS AND TEXTILES. 

INDEXICAL /GESTALT / VISUAL PERCEPTION


NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan


ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY


IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS


MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.


Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard. 


Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects. 

Immaterial Architectures.


SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE


Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.


STATIC ENVIRON / ANIMATED THROUGH THE BODY



THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /


VISUAL TOOL 


SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression. 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.


PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.


The building as nothing more than an exposition of itself.


A subjective hypothesis, a drawing developed into an objectivity for experience/learning. 


SITE, the undoing of PLACE. (Casey)


BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.



DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE



TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.



Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves. 


CONTEXT AND CONSIDERATIONS :

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.



THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE

INVENTORY or DATABASE.


Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces.


Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape


Robert Mangold, Paintings and Architectural Forms


Fragments from sketchbooks.


Ephemeral Architecture


Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.


Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.






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