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 280623
Relation-In-The-Making.
Spaces between objects, Giorgio Morandi.
Emergent Evolutions.
These micro-perceptions are perceptions without objects, hallucinatory tendencies in the sense that they express nothing but the emphasis on the quality of becoming. They do not give us a body fully formed or an object-in-place, rather they fold perception into a becoming-body-of-movement, creating the emphasis of quasi formation that is relation-in-the-making.
An object becomes the threshold for thinking feeling.
We perceive/perception is the force for the worlds infinite unfolding, with objects catching the edges of their contours, participating in the relation they call forth.
Erin Manning.
The smooth paint of the background turns out to be made of many translucent layers, intended to cover over outlines that Giacometti rejected, always in favour of a smaller and smaller head.
John Berger.
Diffractive Thinking/Reading abstractions in the middle of things and both ways at the same time.
Karen Barad.
MAKING
Anthropology
Archaeology
Art and Architecture.
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Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making. For Ingold instead of treating art and architecture as compendia of objects for anthropological or archaeological analysis, he advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.
Hungate Site Visit.
Water/Light/Architecture.
Ceramic Vessels/Lead Tray/Water/Mirror.
Cyanotype Solution, unexposed, unwashed.
White gesso on biscuit ware.
White lead glaze.
Ceramics and Architecture.
Ceramics for a reflective solitude, an architecture of silence.
Figural Jars/Abstracted Human Clay Vessels/Cinerary Pots.
Sainsbury Centre.
Julian Stair.
Art, Death and the Afterlife.
Mezzanine Gallery.
Towards an Ecology of Materials.
Materiality, Embodiment, Nonhumans, Hylomorphism, Things.
One of the peculiarities of material culture studies over recent decades has been its virtual divorce from the traditions of ecological anthropology. This is odd, given that both fields are broadly concerned with the material conditions of social and cultural life. Students of material culture are interested in people's relations with things. Ecological anthropologists study how human beings relate to their biotic and abiotic environments. For the former, persons and things are bound in relational networks; for the latter, human beings and other organisms are bound in webs of life. Yet practitioners of these two fields are speaking past one another in largely incommensurate theoretical languages.
Tim Ingold.
Archaeology, Volume 41, 2012.
The Archaeology of Emotion and Affect.
Sarah Tarlow.
When David Sylvester asked Giacometti about the thinness of the sculptures he had made without a model, Giacometti said 'they get narrow despite myself'.But then added, 'from life, they do this less'. Models put up a resistance to the thinning gaze, as if they were resisting Giacometti's willingness to let them go.
Drawings That Shrink.
Drawings that are extremely tense, a sign that the object/model is resisting.
Relations on the figure and the rejected lines and their borders on the drawing.
And so Yanaihara tilted and shrank, and sank down towards the bottom of the frame. As he shrank down, he also shrank away, back in space, away in time and perhaps in imagination, away from firm memory and towards insecure recollection. At some point Giacometti abandoned the drawing and began another.
Giacometti was fastidious about the placement of the easel, the canvas, and Yanaihara's chair, and he put little red blocks of clay under the stretcher to keep the canvas at a precise angle. None of that helped him anchor the figure: still it kept shrinking. The principle of its shrinking is clear in the dozen preparatory drawings, because many of the rejected lines remain visible. What mattered was the relation between the head and the borders of the drawing. That's why the drawings have drawn borders with lines scattered like matchsticks inside them.
On Drawing/Seeing to abolish the principle of disappearance, but it never can, and instead it turns appearance and disappearance into a game.
The crucial sadness of drawing is it is unsurpassably close to the object, but always separated from it. Drawing bends my thoughts towards the nearly indescribable distance between the model and the motions of my hand, or should I say between the movements of my eyes as they pass over the model, and the sweep of my hand as it moves across the paper. Or the feel of the model, as I imagine it, and the texture of the paper as it slides under my hand.
The game of drawing is intricate enough with its slant rhymes between the feel of the model in my mind and the feel of the paper. It is made more difficult because drawn lines have the power to remake my own imagination. Every line I draw reforms the figure on the paper, and at the same time it redraws the image in my mind. And what is more, the drawn line redraws the model, because it changes my capacity to perceive.
As I draw, the model becomes defective. The image in my mind is marred by the marks I put on paper. And so because a drawing cannot quite be touched, because it shifts when I try to fix it on paper, because it does not simply transcribe something in the world, because it can never bring back what I once loved – because of all that, drawing is an intense expression of the defect of distance.
John Berger.
