MORE FORMING THAN FORM : Sensorium, Journeys in Art, Architecture, and Film

Landscape/Sensorium : Journeys in Art, Architecture, and Film.

Sensorium : A Partial Taxonomy, Caroline A. Jones.

Drawing into the contemporary sociological imagination 

Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;

This schematic offers a partial taxonomy.

Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006 Immersive

the "cave” paradigm, the virtual helmet, the black-box video, the earphone set 

Alienated

taking technology and "making it strange," exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation

Interrogative

work that repurposes or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems

Residual

work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one Resistant

work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them

Adaptive

work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question

Atlas of Emotion : Journeys in Art. Architecture, and Film. Giuliani Bruno.

The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.

The Mobile Home

Post Studio Practices, Daniel Buren. Rem Koolhaas

A space is something that has been made room for... A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is .. . joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge.

Martin Heidegger. ’Building Dwelling Thinking’ Pattern and Chaos/Liminality/Tectonics

Architectural surface for a Library, raw materials, light, silence and solitude.

CELL, COURT, DOMAIN FIELDS : Experimental surfaces and actions on layered paper.

House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.

The Voyage of Modernity, Guiliani Bruno.

The spatial practices of exhibition and education.

The humanities and architecture, Heidegger/Bachelard/Ingold/Herzog and De Meuron/Zumthor.

The politics of things/sociology and everyday life/dwelling and making. Natural History learning/thinking through things/situations and vocations. Contents/Contexts and Presentation.

TEXT FRAGMENTS 27 August 2018 

MORE FORMING THAN FORM

ART as an inquiry into the phenomena of perception of ourselves and a conduit for others Artwork create our/new futures, connections as yet unknowable

Room Obscura, etched glass ground,

Space Between People, Josiah McElheny

Glass Structures, Warm Glass/Kiln Forming Techniques Penone/Fontana, CLAY

Those that work with Clay and those that work with CERAMICS Adolbe Constructions, Albers paintings, Terracotta, Kiln forms. Hut,

Oscar Tuazon,

George Kubler, Shape of Time,

A CHRONOPHOTOGRAPH contains INFORMATION about interval, duration, speed and other DERIVATIVES OF SPACE TIME.

Used as a metaphor for describing more abstract ideas of space/time, ie the notion of Time as a series of INSTANTS or PLANES of SIMULTANEITY.

Robert Mangold, Josef Albers, Constructed Spaces/Intervals : Minimalist

Creative Praxis, an articulation in the process of making/field The Drama/Performativity of the art work.

Merging into the painterly and its sensate abstraction/nature/materiality of evocative surfaces and textures. WANDERLUST/WONDEROUS into imaginative/visionary environs of the everyday, the quotidian detail/MARKS of life/Becoming Experiential.

Walking is indexical to the landscape as is the thinking that is experiential produced through its agency. Leper Grave Poetry

INTRA- Spaces

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, Sebald, 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

Working Towards a Secular Retreat in the Landscape

TRACE, LIGHTNESS, EXACTITUDE the abstractions of loss/disappearance Matter and Desire, an erotic ecology

Things held captive by the presence of light/loss of gravity Modulation-Sensate-Mapping-Post Studio-SITE

Visceral and Ephemeral Research: T Oulton

MAKING-CREATING-CURATING through experiential process /praxis Notes from the work in progress/Cell, Court, Domain

ANTHROPOLOGY URBAN MATERIALITY

The Movement of Body Politics

Heidegger, Dewey : Landscapes of Everyday Aesthetics

Cell Court Domain : Capitalism/Consumerism created the house-wife. Threats are within the layers of things

Being Animal, Deleuze

Simple structure, construction that is mindful of an austere aesthetic, a liminal zone of contemplative solitude and lightness. Causality at play in the practice creating cognitive and playful frames of subjectivity. Art works by finding things and experiencing something that is beyond themselves, beyond being into the space oor interval of becoming.

LANDSCAPE and the authorship/design aesthetic of the picturesque Ownership of the land and those who live on it. Gillian Rose/Landscape/Feminism

Worked with the nature of the river, lived in accord with its ancient spring. Now we take ownership, straighten and pollute it and market it as picturesque. It is this particularly contemporary incarnation of landscape that perfectly reflects the anthropocene nature of our postmodernism.

The photographic pathology of the image creates the empty depths, a mourning on modernity.

BLUE, Melancholy and Creative Energy.

Absences and the passing/(imprinting of memory) of time spent/becoming self. Militaristic aesthetic at work, distillations and meditations

A pictorial environment of slowtime, an ephemeral apparition. Creating sensibilities that are meanings that are residing in thee process. Encompassing accidents and chance.

Cyanotype Documents/Natural History

Creating propositions/absent abstractions into a theater of experimentation.

Records the physicality of an objects displacement/nature and documents its qualities of translucency and opacity.

SHADOWCATCHERS : The casting/performativity of shadows and their aura/otherness Proximity, distances between object, light and the recording surface.

Luminosity, Liminality, Numinous,

Subjectivity, the conscious and unconscious thoughts and emotions of the individual, it is not stable but constructed in relationships with others and in everyday practices.

Entanglements that theorise (an analysis that enables) the social and the natural together, ie intra-acting with matter of our worlds in ways that are transformed by matter and ourselves and vice versa. (Barad)  

The meditation of absence/touching lightness 

Stones as a matrix of gathering slowness.

Paintings as cognitive landscape

Creating subjective thoughts and readings embedded through an awareness of space and time. Opportunities for something instantaneous to happen and be recorded. 

Empirical, Indexical, Experiential, Involuntary,

Taxonomies and Subjectivity/Spatial Narratives of Layered Space (Spatiality) Mark Dion, Thames Dig.

Herzog and De Meuron, Archaeology of the Mind/Natural History. Peter Greenaway, The Physical Self/Architecture and Allegory.

Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,

"There are no simple concepts. Every concept has components and is defined by them.

It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity is conceptual...

Not only do Descartes, Hegel, and Feuerbach not begin with the same concept,

they do not have the same concept of beginning... Every concept has an irregular

contour defined by the sum of its components, which is why,

from Plato to Bergson, we find

the idea of the concept being a matter of articulation,

of cutting and cross-cutting.

The concept is a whole because it totalizes its components, but it is

a fragmentary whole.

Only on this condition can it escape the mental chaos

constantly threatening it, stalking it, trying to reabsorb it."

Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16. 

ABSURDITY POLEMIC POETRY CONFLICTING DYSFUNCTIONAL

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 / 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.

Melancholy And The Landscape

Locating Sadness, Memory And Reflection In The Landscape Jacky Bowrin

Path : Analogue Film Process St Catherine's Hill, Winchester

Anthracene : Nick Cave and the Bad Seeds, Skeleton Tree. Walberswick : Beach Slides/Digital Pinhole

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfariane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings: Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

Landscape : Entanglements of Affect

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative, Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Daily Rituals : Moving with the affective tone of objects

Outpost 100723

Hungate/Water

The House of Spiritual Retreat.

Emilio Ambasz/Emerging Nature.

Sculpture in the Expanded Field, Rosalind Krauss.

The Art of Memory/Frances Yates.

https://monoskop.org/images/b/be/Yates_Frances_A_The_Art_of_Memory.pdf

Objects and their Relational Potential.

Propositions for Thought in Motion.

Landing Sites, Organism/Person/Environment

Affective tone is an environmental resonance of a feeling-in-action.

The immanent value of objects is intrinsically connected to the relations they create within the conditions of a felt realm of a therapeutic becoming or in conjunction with the ways in which the environment proposes its own constitutive limits.

For Lygia Clark it is how these relations take form that is key, and this is where the artistic process makes itself felt. Without a set of enabling constraints to make the work take form, Clark's objects would melt into an already overcoded environment. 

Lygia Clark's relational objects create worlds, produce events in the making, this is how their value is felt. The value of her relational objects is not expressed in their capacity to stand alone as objects, rather it is felt in the emergent qualities their coupling with bodies in relation brings forth. Their value lies in how the forces of potential express themselves in their relational movement towards the world. Her relational objects are defined by the constraints of their pairings, these constraints are the limits borne out of the environment that incite the ways in which complex series can conjunctively take form.  

In a relational world where language dances, thoughts becoming form.

Resonances that modulate her body, her own becoming-movement in tandem with the environment moving. A slowness rich with the eventfulness of sensation-in-the-making.

Amanda Baggs, Erin Manning.

Some Notes on the Nature of Abstraction.

One thing is clear: when the level or kind of reality resides in the events of perceptual phenomenon, as well as in those abstracted concepts of image transference, such methodologies (tools) as language, script, graphs, photography, and the various games of pictorial, historical, curatorial, and literary analysis and description have only thethe appropriate limited meaning of their present currency in the world.

It is in this sense that modern (so-called abstract, non-objective) art mat seem obscure, as it generates direct questions aimed at each of these seemingly established roles and practices making up the historical distinctions for art.

Being and Circumstance.

What our perception presents us with (at every moment) is an infinitely complex, dynamic, whole envelope of the world and our being in it. In summary, we can thus state that all perceptual knowing is knowing in action (change) and the equivalent of the phenomenal.

Robert Irwin.

Notes Towards A Conditional Art.

Inquiry.

By the turn of this century, nothing, absolutely nothing, was on certain ground: everthing was being challenged; this is the main fact of our lives.

Alfred North Whitehead. 

Objects expressing different ways (feeling-thinking) of making practices.

Hungate : Figural/Watery Form.

Chinese paper on used white linen sheet with sea pebbles, cyanotype fluid, black spray paint.

Simple plain ceramic bowl, water, bandage.

Reverberations of Reverie : Architecture as the source of insights.

 Outpost  170623

Private Stillness/Palpability/Tectonics

Architecture as the source of insights.

We exit the expected bounds of time and enter space.

Reverberations of Reverie

Gaston Bachelard.

Stretto House.

Two sequences of an aqueous space that creates a connecting point.

Rooms are flooded to reveal their prior emptiness or our inability to occupy them.

Holl/Tarkovsky

Perception At Its Limits.

Perception that must exceed the location of the body and enter the wider space that has no limits.

Weight persists in his work as a knowable presence.

Deceleration : A Collapse of Plastic Space.

Attributes are revealed via the slow occupation of use, in which new spaces are generated as frames are withdrawn and the space is imploding/collapsing/decelerating.

Steven Holl consistently reaffirms the interiority of each work, showing us a city of atomized lives, interiors, and private stillness. 

The internal core of a room is a reverie.

Bachelard in The Poetics of Space suggests that at the core of a rooms emptiness is a space derived not from the bounding closure of its walls, but from its deep, but absent source of palpable energy.

By the way of the body, lyrical explorations of space/surface relations.

The body creates situations with or without others.

Certainly a sense of melancholy is in this work, but ultimately I think it is a sense of weighted and corporeal subjectivity that is implied here, a form of reverie.

Spatial definition is ordered by angles of perception.

An architecture based in perception at its limit

Parallax is the dynamic change in spatial volumes due to the moving position of the body as it experiences space. The house is not an object, it is experienced in a dynamic relationship with the terrain, the angle of approach, the sky, and through light in which it creates a focus  on the internal axes of movement.

The change in the arrangement of surfaces, defining space due to the change in position of a viewer is the essence of parallax.

Steven Holl. 

It is the precision of Holl's formal work and his tectonics that give these spaces their amazing palpability. But like Hejduk, it is his teaching and his writing, and the degree to which his architecture is the source of his insights that is of most value. It is his concept of space that precedes all work written or architectural, and it is the effect of this space and the means by which it is ultimately perceived.

Sensing Spaces

Architecture Reimagined.

Royal Academy of Arts. 2014

Presence : The Light Touch of Architecture.

Philip Ursprung.

The heart of this exhibition is the interaction between three factors: the nature of physical spaces, our perception of them, and their evocative power.

Kate Goodwin.

Architecture.

A definition may be very exact, and yet go but a very little way towards informing us of the nature of the thing defined.

Edmund Burke.

An introduction on taste in A Philosophical Enquiry into the Origins of our Ideas of the Sublime and  Beautiful. 1759

Architecture has a more direct influence on our lives than any other art form, but its ability to affect how we think, feel and interact is often overlooked. To explore the impact of built space on our lived experience, the royal academy has invited architects from around the world to create immersive installations for a groundbreaking exhibition.

Sensing Spaces : Architecture Reimagined, sets out to redefine what an architectural exhibition might be. Instead of displaying drawings, models and photographs to illustrate an architect's work and ideas, Sensing Spaces offers visitors the opportunity to engage with architecture directly and to experience bit through their bodies and senses. Individually and together the exhibition and its works raises intriguing questions about the boundaries between art and architecture, the human qualities of space, and the role buildings play in shaping our lives.

Steven Holl argues for an architecture informed by a phenomenological interrogation in which he sees architecture as a dynamic process where by we constantly reinvent our relationship to the world of the senses, including our sense of time and space.

Architects and artists create in an attempt to make people perceive, to make something visible.

The house as a vessel, as an instrument of experience for time, light and place. As a poetic potential to speak of something other, a language and a relative autonomy that grounds or precedes the architecture.

Building transcends physical and functional requirements by fusing with a place.

The site of a building is more than a mere ingredient in the conception of architecture, it is its physical and metaphysical foundation.

Architecture through building is bound to a situation, a construction that is intertwined with the experience of a place.

House : Black Swan Theory.

Anchoring 

Steven Holl.

Clay/Raw Oxides/Biscuit Fired/Mirror/Water

Drawing Fields/Small Perceptions : Becoming BOUNDARIES AND JUNCTION POINTS.

 DSC_6111 Spatial Drawing/Speculative Site.

 BOUNDARIES AND JUNCTION POINTS

The theoretical object as a concept to express the force and feeling of inquiry.

The Stick Thing, Canterbury School of Architecture/Spatial Practice/Oren Lieberman. 2009.

Raveningham, speculative array of simple objects in the landscape.

Lefebvre, The Production of Space.

Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1

It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.

The act of “blocking in “ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio- temporal markers or determinants.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through “which without colliding would produce the establishment of places (localities made special for one reason or another).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.

Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4

1 Lefebvre, The Production of Space, (London: Blackwell, 1991) page 193.

2 Ibid.,page 192.

3 Ibid.,page 192.

4 Ibid.,page 192.

Ceramics and Architecture : Making Things, Perception/Thought/Action

 Outpost 100223

Architecting and its ecologies/matters of concern.

The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.

Apparatuses and their ecologies for learning.

The choreographic object/agent.

The role of the body is scored through a shifting agency and the power of techniques of things.

Theorial objects of things which do theory without us imposing it, on them.

Oren Lieberman. 2013.

The Production of The Unexpected.

The Joy of Speculative Play.

Perception/Thought/Action

A caring curiosity that wants to know and understand and explore relations.

Projective Speculations.

Ecologies/Locations.

Questioning/Research.

Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.

Landscapes Of Actions.

Modalities Of Intravention

Constitutive Qualities Of Dance.

Ephemerality

Corporeality

Precariousness

Scoring

Performativity

If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.

Lepecki. 1996.

Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.

The Archive.

Matters of Concern.

Terms of Engagement.

Interrogate with descriptors and new issues of practice.

Bringing Things to Life.

Starting conditions for responsible and curiosity driven engagements with the world.

Place-Refreshed.

New-Agencies

The Interconnectedness of Places.

For Ingold, congealed places become relationships/connections for lines of occupation.

Curriculum making/experience as the enactment of dwelling in places.

Landscape Constructions/Observatory/Garden.

Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.

Ceramics and  Architecture

Marking The Line.

In response to Sir John Soane.

Joanna Bird. 2013

Arranging the physical space/circulation to receive forms/intraventions.

Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.

Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.

Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.

Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance. Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.

Joanna Bird Pottery

Director of the Joanna Bird Foundation.

London.

Ceramic Forms and Paintings.

Materials/Substances on a drawn and constructed surface.

Drawings, wax and yellow ochre on layered canvas and paper.

Water : A Phenomenal Lens.

The transformative properties of the substance.

The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.

An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.

Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.

 

Refraction/Reflection/Spatial Reversal Phenomena.

Time : Duration and Perception.

Duration as a multiplicity of secession, fusion, and organisation.

Henri Bergson.

One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.

Thus when I measure time, I measure impressions, modifications of consciousness.

Saint Augustin.

Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.

The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..

Steven Holl.

Hungate, Norwich. 

Anglian Potters

Undercroft, Norwich. 2023

Helgate Proposal

Exploratory Ceramic Practice.

Clay Making. 

Plaster Work.

Commissioning of Gas Kiln for large scale works.

Glass Tech Kiln.

The Mechanism/Sequence of Allure : Colour/The Sensual Object.

Because the faculty of sight is continuous, because visual categories (red, yellow, dark, thick, thin,) remain constant, and because so many things appear to remain in place, one tends to forget that the visual is always the result of an unrepeatable, momentary encounter. Appearances, at any given moment, are a construction emerging from the debris of everything which has previously appeared.

John Berger, Berger On Drawing.

Art and Ontography.

Open Philosophy.

Remonstrating on art's openings, their natural theatricality, and on the truthful deceptiveness of all revelations of the real.

Simon Weir, Object-Oriented Ontology and Its Critics. 2020

Revelations : Filtered Light : Visual Contiguities

PSYCHOLOGY

the sequential occurrence or proximity of stimulus and response, causing their association in the mind:

"contiguity is necessary in all forms of learning"

https://www.flickr.com/photos/russellmoreton/46959196972/in/dateposted-public/

Revelations as a truthful deceptiveness.

Art and Ontology.

An Infra-Realist Ontographic Art Object.

Art and Architecture : Anselm Kiefer/architectural creation/art/hermeneutics/history

 

Art and Architecture : Anselm Kiefer and David Chipperfield at the RA

VITRINES : Art Spaces/interiors/interventions. 

Anselm Kiefer : 

In the Annenberg Courtyard

Velimir Khlebnikov: Fates of Nations: The New Theory of War

Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).

After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.

Keywords: Anselm Kiefer architecture art hermeneutics history

The Architectural Lessons of Anselm Kiefer's La Ribaute

Stephen Wischer.

This article examines the architectural significance of Anselm Kiefer’s situated art practice, exploring how relationships of poetry, history and culture, presented across all of his work, provide vital lessons for architectural thinking and doing. Kiefer’s creation of La Ribaute, outside Barjac, France, is particularly well suited to the study of a hermeneutic approach to architectural creation, since the reinterpretation of historical and mythical themes across painting, sculpture, earthworks and architecture critically situates modern creative practice within the larger continuum of human culture and knowledge.

Stephen Wischer is an Associate Professor of Architecture at North Dakota State University, where his teaching of history/theory seminars and design studios emphasize interdisciplinary relationships between art, architecture, writing and philosophy. His artwork and architectural investigation involve intensive process-based explorations which have been exhibited in both Canada and the United States. His doctoral research at McGill University in Montreal, Quebec, explores hermeneutic readings of artistic creation and historical texts in relation to architectural praxis.

Spatial/Diffractive Bodies Situated in Place : Matters of Fidelity and Precariousness.

 

Bringing Things To Life.

Creative entanglements in a world of materials. 

The Environment Without Objects.

Tim Ingold. 2008

Intermediaries within the cyanotype process.

Trace drawings on paper with organic and material from the built environment.

Drawing/Making Processes.

Architectural Body : Organism, Person, Environment. Arakawa and Gins. 

 "[...] the body [...] continually transforms itself and is already not, at the moment when I speak of it, what it was a few seconds ago." (Laplantine, 2015:13)

Laplantine, F. 2015 [2005]. The Life of the Senses: Introduction to a Modal Anthropology. United Kingdom: Bloomsbury Academic.

Through the choreographing of our learning processes we create the conditions for engagement/entanglement and production/transformation, which are all modalities of movement and action. So we see pedagogical, architectural and professional practices as potential practices of transformation and co-learning. Dance – somehow both connected to and different than choreography – brings with it a whole set of values which we consider significant for the architectural pedagogy we enact. 

Lepeki lists the 'constitutive qualities' of dance as 

"ephemerality, corporeality, precariousness, scoring and performativity" (Lepecki 2012:15) 

He goes on to say that "[t]hese qualities are responsible for dance's capacity to harness and activate critical and compositional elements crucial to the fusion of politics and aesthetics …"(Lepecki 2012:16)

His 'compositional' and 'critical' elements echo the event/discourse relationships within our pedagogy and in our use of choreography as dance/writing. These qualities allude to specific modes of engagement and making, and state particular values. We will use them to underscore our pedagogical modes, and develop them as necessary in a teaching practice which desires students' engagement, empowerment, and caring.

In that sense, ephemerality can be related to immediacy and an engagement with the here- and-now which cares about effects and duration. Corporeality speaks of a body, but if we ask whose body or what body, then we can expand it to be any-body, in order to speak of matter or, more precisely, of mattering and bodying. Other names for precariousness can be fragility or vulnerability, somehow always already a condition of our impossibly immediate interventions. Scoring, which can be both a ‘writing’ and an unfolding, creates spaces and times and modes for and of improvisation. And performativity always returns us anew to movement, multiplicity, effects and life.

Performative Intraventions and Matters of Care: Choreographing Values

OREN LIEBERMAN

ALBERTO ALTÉS

Abstract

Thinking through choreography as dance/writing – both the doing and the score for that doing, the event and the discourse - we propose to shift the focus of architectural practices and pedagogies from an emphasis in the attainment of competencies and  static  knowledge,  to  a  privileging  of  processes  and modalities of learning that nurture the values of engagement, empowerment and  caring  responsibility.  Choreography  situates  our  work  in  the  realm  of performative action and transformation, and it does so with and through our bodies; also, it helps us frame the power of our intraventions, which aim at transforming the world through immediate, responsible and often fragile acts of engagement with matter, movement and life.

Keywords: 

Intravention, matters of care, choreography, architectural pedagogies, modalities of learning.

More on ’intraventions’ can be found in:

Altés, A. and Lieberman, O. 2013. Intravention, Durations, Effects: Notes 

of Expansive Sites and Relational Architectures. Baunach: Spurbuch Verlag.

Material Discursive Practices : The Edge its borders and boundaries : Richard Sennett

Diffraction, as a physical phenomena and a tool for analysis that attunes us to ongoing differences of the worlds continous becoming.

A Diffractive Methodology/Performativity

Knowledge Making Processes

The Agency of/and Cutting Together/Apart

Agency is doing/being in its intra-activity

Performing phenomena entails investigations of the material-discursive boundary-making practices that produce 'objects' and 'subjects', and other differences out of, and in terms of, a changing relationality.

A phenomena is a specific intra-action of an 'object'; and the 'measuring agencies'; the objectand the measuring agencies emerge from, rather than precede, the intra-action that produces them.

Karen Barad

The central idea is that 'the thing' 'we' research, is enacted in entantanglement with 'the way' we research it.

Agencies emerge with specific qualities, this means that we might recognize agency in different forms as relations, movements, repetitions, silences, distances, architecture, structures, feelings, things, us/them/it, words 

Sofie Sauzet, Phenomena-Agential Realism

Crafting the mind : Human Inhumation/Containment

Human Vessel/Leper Grave.

Morn Hill, Winchester.

Liquid light emulsion, charcoal, wax on paper, 2.1 x 1.5m.

Russell Moreton.

https://www.flickr.com/photos/russellmoreton/

Discursive Thinking/Substance and Display.

Julian Stair

Quietus/The Body Politic

Morality

Jonathan Sacks

Co-Existing with the Virus

Jozef Van Wissem

Grand Central Confessional

Nature Boy

He said that in the end it is beauty

That is going to save the world, now

Nick Cave and The Bad Seeds

 

Laura Ellen Bacon - In the Thick of it: A Woven Space (with stills)

The Sensations The World Calls Forth/Water at Hungate.

Outpost 150723

Hungate Medieval Art and Architecture.

https://www.axisweb.org/p/russellmoreton/

The Sensations The World Calls Forth.

We paint-sculpt-compose and write with sensations.

INSIDE THE VISIBLE

impulse of the possible

an elliptical traverse of 20th century art.

in, of, and from the feminine.

edited by M. Catherine De Zegher. 

front cover:

Anna Maria Maiolino, 

Entrevidas (on the margin of life), Installation, photo: Hanzy Stakl. 1981

The plane of composition through which articulation eventually emerges is populated by the thought of the work, its inner rhythm. Deleuze and Guattari calls this inner rhythm a block of sensation.. Blocks of sensation are forces that compose thought's durational attitude.

Deleuze ,Guattari. 1994.

Rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.

Sculpting in Time, Tarkovsky.

For Tarkovsky, editing from within seeks to create space-time, not simply reproduce it. To edit from within is to compose with the more-than of language's actual articulation. It is to work with language's pre articulated virtual force, directing enunciation such that its virtual effects are felt within actual expression.

For Amanda Baggs, communication through words remains inadequate to the singular experiences of sensation the world calls forth.

Thought is a proposition for Feeling-In-Motion.

Thought is more than a form taking of words.

Words are an extra component of the experience of articulation, not its final form. Words cannot fully express experience's complexity.

Language must be called forth as a layering-with of the affective tonality of expression.

An inquiry and its translation that transduces the event of language's becoming with sensation.

Language does not replace the sensual exploration of the relational environment, it moves with it, becoming one more technique for composition.

The Relational Cusp : 

Of Becoming-Events-Objects-

Movements Expressing The Force Of  A Relational Environment.

This sensory becoming is a form of thought.

Being/Becoming in a constant conversation with every aspect of my environment, reaching/reacting physically to all parts of my surroundings.

Artworks/Art working to create a relational nexus that can expose the world at the incipience of its sensory becoming.

Relationscapes : Erin Manning.

Drawing Rooms/Slow Philosophy/Arte Povera : Cyanotypes/Collages/Photography/Installations

Slow Philosophy. 2017
Reading against the institution
Michelle Boulous Walker

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented 'happening'. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini's art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993

Mappings and Leylines/Hyde 900/2012 : Spatial Practices,experimental drawing with alternative photography.

 

Leylines: St Bartholomew’s Church and Hyde Gate/Chamber. Winchester SO23 7DF. www.hyde900.org

“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.

Beams and Netting: Negotiations in the chamber.

Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.

This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.

The Poetics of Space : The house, from cellar to garret. The significance of the hut.

“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to  the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”

Gaston Bachelard.

via Russell Moreton : Spatial Practices..

via russellmoreton.wordpress.com

Dwelling/Reverberation/Poetics : Physical Grammar/Passages

On The Experiential Level of Life

Investigating/Expanding 'The Spatial/Sculptural'
Space over Time/Operative Design

Tony Cragg

IN AND OUT OF MATERIAL

Demonstration

Tony Cragg : I basically mean the effectiveness of the object, of the material. But because the metaphysical and physical association are already occupied, I'm interested in somehow establishing some relationship with the materials and the things around me without using any preconceived notions of an already occupied language. It is a bit like taking away a Christian name and depersonalising something. What I mean is that it's an attempt on my side to restart the relationship with the material, which I think sculptors have to do anyway.

Jon Wood : Thinking of the increased awareness that this side of your work tries to capture and harness in the viewer, can you say a bit about the kind of sensitivities that you would like to be heightened? What would you see your work as demonstrations of and for? Your sculptures are triggers for what kind of thinking?

Tony Cragg : Well there is an attitude to looking at things and to looking at objects and materials which is based on a meditative tradition of contemplation : the universe in a grain of sand idea, or maybe even religious ideas where you actually get in contact on some level with the material world, on a deeper level than the one you obviously are capable of reaching in an everyday situation, so on an extraordinary level, outside of your own experiences.

I am not saying that that's not interesting or important. But I also think that this leaves the battleground for the everyday life to be governed by non-contemplative thought and non-meditative thought. And this may sound like a mixture of terms, but I think that there is a job to be done even on an everyday, “second for second” level of life—on the experiential level of life. I think there is a job to be done here improving the quality of contemplation about an awareness of the material world—the material world seen as an immediate extension of the communal social effort, the cultural effort that you are part of.

Jon Wood : How does it move from being an individual contemplative experience to being one that has a communal relevance?

Tony Cragg : In the main part it only has communal relevance. All you can do for yourself is formulate your sentences, cook yourself a meal that suits you, get dressed in a fashion that suits you, and everything else you have to put up with as having been made by other people for you. But obviously, even if they didn't ask your permission, there's something consensual about that, isn't there? Even though you don't like it, it doesn't look like you're making an effort to change it. And maybe there's some active thing there. My idea is that even if I don't like it, I wouldn't be able to change a great deal of it, but I could sow the seed for some change in the direction that I would feel would be important. It's a measure of how much responsibility one takes for the change. Looking for more in the visual world around me and looking for more language, in a sense, is one way of heightening sensibilities and expanding a vocabulary and then expanding the responses to a vocabulary is a way of heightening sensibilities. I'm not a politician, but I think we still live in a world that is greatly dominated by mesmerism and mystical models, which are very distracting because they actually stop us from really trying to face reality.

Objects/Subjects in Space : Passages in Sculpture

OPERATIVE DESIGN : SPATIAL VERBS

To serve as a fundamental tool for spatial and architectural interpretation

Spatial operations, illustrated beginnings to activate architectural inquiry.

This catalogue thus introduces the possibility of understanding spatial formation as a process that can be derived from fundamental actions, here grouped into volumetric addition, subtraction, or displacement, which define a lexicon of starting points for the creation of space and also imply the relationship between oneself and the space created.

OPERATIONS

to | Expand | Extrude | Inflate | Branch | Merge | Nest | Offset | Bend | Skew | Split | Twist | Interlock | Intersect | Lift | Lodge | Overlap | Rotate | Shift | Carve | Compress | Fracture | Grade | Notch | Pinch | Shear | Taper | Embed | Extract | Inscribe | Puncture |

MAKE SPACE

Space matters. We read our physical environment like we read a human face.

The Eyes Of The Skin

Architecture and the Senses

Juhani Pallasmaam Steven Holl

2005

How to set the stage for creative collaboration

Scott Doorley, Scott Witthoft, David Kelley

2012

Surface + Volume

Generative Process

Combinations and Aggregations

Implementations

Writing and Seeing Architectue

Christian de Portzamparc, Philippe Sollers

2008

In and Out of material : Passages in Sculpture

COMBINATIONS

to | Inscribe + Inscribe | Intersect + Intersect | Split + Split | Embed + Embed | Taper + Taper | Bend + Bend | Branch + Branch | Shift + Shift | Notch + Notch | Inscribe + Intersect | Intersect + Split | Split + Embed | Embed + Taper | Taper + Bend | Bend + Branch | Branch + Expand | Expand + Shift | Shift + Notch | Notch + Twist |  

Languages,dialogues,conflicts that can evoke form,experience and interaction.

Research, inquiry and practice as a systematic approach through operative terms.

Investigating the 'Spatial' its formal/experiential essence/action and character for spatial opportunities.

The Feeling Of What Happens

Body,emotion and the making of consciousness

Antonio Damasio

1999

The Architecture Of The Jumping Universe

A Polemic

How Complexity Science is Changing Architecture and Culture

Charles Jencks

1995

RESPONSIVE ENVIRONMENTS

ARCHITECTURE, ART AND DESIGN

V&A Contemporary, Lucy Bullivant

2006

to fold

to modulate

of tension

of entropy

Richard Serra, "Verb List Compilation: Actions to Relate to Oneself" [1967-1968]

to roll to crease to fold to store to bend to shorten to twist to dapple to crumple to shave to tear to chip to split to cut to sever to drop to remove to simplify to differ to disarrange to open to mix to splash to knot to spill to droop to flow to curve to lift to inlay to impress to fire to flood to smear to rotate to swirl to support to hook to suspend to spread to hang to collect of tension of gravity of entropy of nature of grouping of layering of felting to grasp to tighten to bundle to heap to gather to scatter to arrange to repair to discard to pair to distribute to surfeit to compliment to enclose to surround to encircle to hole to cover to wrap to dig to tie to bind to weave to join to match to laminate to bond to hinge to mark to expand to dilute to light to modulate to distill of waves of electromagnetic of inertia of ionization of polarization of refraction of tides of reflection of equilibrium of symmetry of friction to stretch to bounce to erase to spray to systematize to refer to force of mapping of location of context of time of cabonization to continue

AGGREGATIONS

to | Reflect | Expand

Reflect + Pack | Skew

Pack | Inflate

Pack + Stack | Branch

Stack | Bend

Array + Stack | Rotate

Array | Taper

Join + Array | Pinch

Join | Split

Poetics and Place

The Architectures Of Sign, Subjects and Site

Kristen Kreider

2014

A Hut of One's Own

Ann Cline

Open Office/Making Space : Passages in Sculpture

Texts,Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines, 

SPATIALITY

Writer as mapmaker, literature of the city and urban space, concepts of literary geography, cartographics and geocriticism.

Robert T. Tally Jr

2013

OPERATIVE DESIGN

A Catalogue of Spatial Verbs

2012/18

IMPLEMENTATIONS

to | Carve + Offset

Poli House : Pezo von Ellrichshausen

Offset program | Perimeter Services | Thickened Openings

to | Embed + Branch

Villa 1 : Powerhouse Company

Branched Programs | Volume Wrapper | Embedded Entry

to | Embed + Overlap

Casa para un Carpintero : RCR Arquitectes

Overlapping Program | Circulation Core | Embedded Entry

to | Expand + Nest

House N : Sou Fujimoto Architects

Expanded Outer Volume | Nested Private Program | Nested Living + Dining




Collage/Drawing Frame : Passages in Sculpture
to | Overlap + Expand

House in Minamimachi 2 : Suppose Design Office

Overlapping Light Wells | Stacked Program | Expanded Volumes

to | Bend + Shift

Nursing Home : Aires Mateus

Shifted Volumes | Bent Massing | Embedded Massing

to | Embed + Taper

Leimondo Nursery School : Archivision Hirotani Studio

Tapered Volumes | Thickened Roof | Embedded Program

to | Lift + Carve

Gouveia Law Courts : Barbosa and Guimaraes

Carved Massing | Lifted Program | Carved Plinth

to | Lift + Extrude

Carabanchel Housing : Dosmasuno Arquitectos

Extruded Living Spaces | Lifted Massing | Carved Plinth

to | Overlap + Rotate

Ironbank : RTA Studio

Rotated Volumes | Stacked Utility and Circulation Cores | Plinth and Street Facade

Anthony Di Mari

Nore Yoo

Volumetric Spatial Operations/Agents/Variations/Combinations

Additions

Subtractions

Displacements


Colour/Making Space : Passages in Sculpture/Architectural Glass

Mesh Topologies : Pattern and Chaos

Speculative Narratives 12

DSC_0018 Spatial/Visual Apparatus

Spatiality : Space over Time
DSC_0476 Spatial/Architectural Drawing

Reading Collage : Spatial Drawings/Documents/Analogue Photography

Speculative Narratives 8
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