Drawing passages in the ecology of experience : Disappearances opposed by assemblages of evidence

Outpost21022

Drawing passages in the ecology of experience.

The Silent Room.

Silence/Intimacy/Reading.

Drawing is about following/keeping up with a form/becoming in life.

What shall I do next?

The entwining of ever extending trajectories.

I was asking you: where are we when we draw? The question seems to be expecting a spatial answer, but mightn't it be a temporal one? Isn't the act of drawing as well as the drawing itself, about becoming rather than being? 

Isn't a drawing the polar opposite of a photo? The latter stops time, arrests it; whereas a drawing flows with it. Could we think of drawings as eddies on the surface of the stream of time?

From each glance a drawing assembles a little evidence, but it consists of the evidence of many glances which can be seen together. On the one hand there is no sight in nature as unchanging as that of a drawing or a painting. On the other hand, what is unchanging  in a drawing consists of so many assembled moments that they constitute a totality rather than a fragment. The static image of a drawing or painting is the result of the opposition of two dynamic processes. Disappearances opposed by assemblage. If, for diagrammatic convenience, one accepts the metaphor of time as a flow, a river, then the drawing, by driving upstream, achieves the stationary.

John Berger 1926-2017.

Improvisation is to join with the world or to meld with it. One ventures from home on the thread of a tune.

Deleuze and Guattari.

Points are not joined so much as swept aside and rendered indiscernible by the current/energy as it sweeps through.

Life is open-ended, its impulse is not to reach a terminus, but to keep on going. The plant, the musician or the painter in keeping going, hazards an improvisation.

Tim Ingold.

Moments of shared physical and bodily intensities in the enactment of constructions, activities and inhabitatations.

Drawing/movements into transitions articulated with gaps and spaces for improvisation and the incorporation/corporeality of the quotidian and the unexpected. 

Francis Bacon, The Human Figure.

Figuring it out, Colin Renfrew.

The assemblage/collaged/choreographic object works to keep us attentive and entangled/engaged in the world.

LiAi:

Laboratory of immediate architectural intervention.

The workshops/laboratory demonstrated how architecture could be about encounters in space, sensitive material tectonics and social urban exploration, engagement and transformation.