IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.
RAVENINGHAM SCULPTURE TRAIL 2018/2020
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
Russell Moreton, Speculative Spatial Practices
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 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
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
Surreealist 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.
The building as nothing more than an exposition of itself.
A subjective hypothesis, a drawing developed into an objectivity for experience/leaming.
SITE, the undoing of PLACE
BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.
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 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
Mediating/Architecting the experience of LANDSCAPE
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 : MAKING, EXHIBIT, VIEW
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.
The Archaeological Site : Speculative Fields/Spatial Practices
What are we? Art/Archaeology.
Contact Photography.
Historical Presence #4
Figuring it out.
What are we?
Where do we come from?
The parellel visions of artists and archaeologists.
Colin Renfrew.
Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)
Dr. Bruno Latour on climate change and the "Anthropocene": Wall Exchange, Fall 2013
Art and Aesthetic Patterns
The theme of the human body as landscape and the biological link between humanity and nature
Filmic Modalities
An Ecology of Mind
We are so accustomed to thinking of aesthetic phenomena as a discursive or representational construct, that we often forget that without arousal of perception, no aesthetic experience is possible.
Going beyond what it may represent into the important psychic information it contains
Bateson credits art with playing the role of confronting the quantitative limit built into consciousnesses
Art assists mind in recognizing that the potentiality of heightened consciousnesses exist and that it resides in you and in me
Perception of Environment/Relational Situations
Tim Ingold
Each thing framed dwells in the world differently.
The frame and framing, through its configuration, must never offer a gap or a bridge through which as it were, the world could get in, or from which the picture could get out.
The picture frame reminds us that the work of art, while it hangs in our room, does not disturb our day-to-day sentient and perceptual ecologies.
It is like an island in the world that waits until one approaches it and which one can as well pass by and overlook.
On The Picture Frame, Simmel
Art becomes art by virtue of literal and institutional framing
Aesthetic contemplation blurs reals and emotional space in a way that produces tangible affects in the world
The thinking hand that mediates a haptic bridge in which creating and holding, becoming and grasping are all practical everyday activities extending the thinking body
Objects that stand in two worlds at once and becoming drawn into the movement of practical life through the virtue of being held in the hand
The intermingling of persons and objects in pictorial space and the aesthetics of the intermingling of function and form in everyday things
The pictorial space is one in which persons and images intermingle and passions can be aroused.
Art and Agency, Alfred Gell
I would like to conclude this analysis of Tarkovsky’s unique use of nature as a ‘comfort zone’ by saying a few things about his two science-fiction films, Solaris and Stalker. Solaris is based on the great same-titled science-fiction novel by Stanislaw Lem. The many philosophical and ethical differences between the novel and film can be summarized by the fact that, whereas the novel begins in space on the Solaris space station orbiting the planet Solaris, the film begins with a 45 minute prologue on earth, which establishes the importance of home, family, and ‘mother’ earth to the psychologist Kris Kelvin (and by extension all humans), who is soon to leave for outer space. The theme of the human body as landscape and the biological link between humanity and nature is established right from the opening, a (second) slow motion close-up shot of plant life swaying under a crystal clear stream that slowly pans right to reveal the hand of a man wearing brown trousers and a dark leather coat standing amidst waist high reeds.
Outpost 010722
Intermediaries/Exploratory Realities.
Constructs/Apparatuses.
Elastic Horizons/Schisms
Space-Time Manifolds
Heuristic Devices/Poetic Ideas
Strange Attractors/Drawings/Diagrams
Architectures that embody philosophy, through limited concepts that work with the contingent and the uncertain.
Light has a new prolific dimension today as a means of measurement and communication.
Light that is not seen with the eyes can be felt.
Light's psychological effects can lead to extremes of feeling with direct repercussions.
The revelations of new spaces, like interwoven languages, dissolve and reappear in light. In magnificent spaces, light changes and appears to describe form.
An eclipse of white clarity suddenly gives way to a pulse with colour; light is contingent, its shadows intermittent.
In the mist of the metropolis at night, space dissolves before our eyes, only to take shape again within seconds.
The spatial depth of the urban field cannot be objectified precisely. In its pulse the polarised position of our body and its perceptions are upset.
If we explore spatial depth, then we can consider how objects appear correct or inverted. During our thought-experiments regarding space, especially space beyond the earthbound (Event Horizon, black hole) we accept new spatial levels and by the force of our imaginations, alter the known spatial levels of previous human existence.
Horizon with aurora borealis.
A horizon is not only an optical condition but also a spinning moment in space-time.
In this sense, the earth is not the ground.
As things continue to float, they spin and accelerate creating subtle centrifugal forces.
We are organic beings.
All of our objective relations begin from the inside out.
We must form an extended comprehension of space and time at the scale of astronomical events while not losing the perspective of the microscopic.
Parallax, Steven Holl.
Prototyping For Architects, Mark Burry, Jane Burry.
Why it does not have to be in focus, Jackie Higgins.
Studio Painting/Constituent Parts.
Matter and Affect
Presence and Mutability
Affective Abstractions
Robert Ryman
Shifting perceptions into immersions within a sensate world.
Japanese Minimalism
Exploratory Diagrams
Spatial Forms/Horizons
Building as a body, a battleground of invisible forces. The spine is the central elevator.
The structure is a tube of concrete covered with insulation and tarred black wood boards.
Knut Hamsun Museum, Hamaroy, Norway.
Works on Paper and Cloth, visible fixings, securely situated to the wall space.
Architectural Panels/Painting Surfaces.
Soundproofing social noise
The solitary artist literally at the edge of his environment, in a state of profound meditation about our place in the wider cosmos.
We are no longer on the outside as an objective, dispassionate observer, but are now part of the journey and perhaps more subtly part of a ceaseless life-giving cycle.
When we are at the beginning of a journey we, like Odysseus, contemplate a character (or concept) that does not yet exist. Absence and loss precede the appearance of an abstract driving force.
Chaos, confusion, and implosion of information bound up in rules, constraints, and limited means precede every architectural challenge. Once the imagined concept takes hold, its correctness is tested in the way it can work in different modes, from program to light, to space and to material.
The journey from the abstract to the concrete is a metamorphosis from a poetic idea with an exploratory diagram, a coherent purpose to form.
Mattering/Metaphor
Dartmoor/Water
Stream of thought, cascades of neural activity in your mind.
Imprints of the natural environment, explorations of matter and light, self and other.
Works that seem caught between this world and evoking a place that is otherworldly.
She works outdoors using the nocturnal landscape as a darkroom.
On The Presentness Of Photography, Craigie Horsfield.
For Horsfield, by separating the act of taking the image from that of printing it, he believes he draws attention to the 'pastness' of the photograph, which is what the picture depicts, its subject and what he calls the 'presentness' which is how the photograph exists through its surface, its matter, and the physical object.
The instant of the moment is also a past reality.
Slow History/Slow Time on the presentness of things and their complicated relationships to time.
Tactile Light/Casting Images.
Pliny/Butades, tracing an outline of a shadow onto a wall.
Christopher Bucklow has devised a process to depict figures composed of myriad pinhole photographs of the sun. He dispenses with the negative by casting images directly into photograms.
She, is rendered not as a shadow but manifested as a radiant, luminous being.
They flesh themselves in the astral remnants of dilated starlight.
Skin
Surface
Subjectivity
The composed image is given an apparent physicality, its surface should be constituted by and of place and time, it should be vulnerable, porous to impressions like skin.
Physical Forms
Landscape
Free Movement
Cone of Vision/Refraction Diagram
Parallax
Elastic Horizons
Science remains essentially mysterious, yet our daily scientific and phenomenal experiences shape our lives; experience sets a new frame from which we interpret what we perceive.
