Outpost 070723
On The Plane of Feeling.
The Aesthetic Dimension of Individual Human Experience.
We Are Moved To Think.
Incipient Expressions.
Feeling-with is a force for thought.
A work creates a force for rethinking as much as a force for the experience of sensation's relays towards prearticulation.
One work can have many dynamic forms, many concepts, many feelings or thoughts.
The artist is not the subject, rather prearticulation is.
The Work's Subject
Is Its Dynamic Form
Its Valuation
Its Conceptual Resonance
Its Diagram.
Activating new parameters for thought.
The force of feeling-things becoming into existence.
To posit a subject for feeling means, engaging with the creative from the outside. This taking form is less the formation of a concrete identity than the culmination and residue of a process.
The Work creates its own subject, its subject is the force of becoming it proposes.
Feeling is power's compulsion of composition.
Whitehead 1929/1978.
The compulsion to compose is an aesthetic drive, a will towards sensation, a will to power-feeling.
Becoming-Bodies Feel-With The World.
Amanda Baggs feels-the-world. Watch her reading a book, she touches it, puts her face into it, listens to the pages rustling, smells it, looks at it. Through her the book becomes conjunctive, valued within a complex responsive environment. By culling the bookness from the book, Baggs makes the field of its musicality felt, its texture, its force of becoming not only as an object to be read but as a relation to be lived.
By feeling the book, Baggs brings the book into relation with a force of prearticulation that exceeds the book-as object.
Erin Manning.
Concepts appear/manifest-themselves as forces of expression in its incipiency.
The Multiple Sense Of Concepts.
There is no event,
No phenomena,
Word,
or Thought
Which Does Not Have Multiple Sense.
A thing has many senses as there are forces capable of taking possession of it.
Deleuze. 1993.
Concepts value the rhythmic pressure of feeling/thinking with the work/world.
The concept is a gear-shift mechanism that acts on blocks of sensation, oscillating between thought and articulation, it pulsates between the actual and virtual realms. On the virtual stratum concepts propel the becoming event of thought, they feel its force of creation. On the plane of composition concepts articulate the dynamic form of prearticulation, they express the feeling of force.
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.
Robert Irwin
Notes Towards A Conditional Art.
2011/2017.
Editor's Note to the Reader.
Beatrice Hohenegger.
The fact that so many manuscripts have until now remained unpublished reinforces Irwin's characterization of his writing as motivated not by communication or publication, but rather by a desire to examine and clarify core questions that he was pursuing at key moments in his career.
Introduction
Irwin's Writing.
Matthew Simms.
In a statement published in 1998, Robert Irwin emphasized that his essays, were not written in order to communicate, I am a visual artist, not a writer, or to refute criticism, writing was for me a means to examine the questions that were turning in my head concerning the 'why' of art, with the intention of clarifying the process of making. Together, they reflect relatively well the development of my thinking and the guiding idea of my work: the potential of each person to perceive the surrounding world from a unique aesthetic perspective.
Notes toward a Conditional Art brings together for the first time Irwin's published and unpublished writings. While the texts span a wide range from letters to project proposals, the vast majority are personal ruminations, sometimes set down in draft form and other times worked up into fully developed essays. They cover a diverse conceptual terrain including, among other things, Irwin's philosophy of teaching, the lessons of modern art, and the artist's understanding of art as a form of pure inquiry. Above all, this book makes clear that starting in the 1960s and continuing up to the present, writing has been and remains an integral element of Irwin's multifaceted art practice.
White Washed Spaces:
Hungate/Water.
Provisional Objects/Architectures.
Porous Fired Clay-Drawings as Spaces.
Thinned Gesso, Sanded/Abraded Surfaces.
Lead Sheet/Glaze/Slip/Batt Wash/Opal Glass.
Compositional Tilt-up Pieces/Vessels.
Figural Body/Water on Chinese Paper.
Hybrid Body-Trace Drawing.
Indian Ink/Cyanotype Process.
Mounted/Inter-hanging/Canvas/Screen Mesh.
White Conduit/Nylon Line.
Re-Visiting The Human Outline.
Chinese Paper/Thinned Gesso/Wax/Lime
On The Plane Of Feeling.
We are moved to think through a conceptual unfolding a reaching towards-expression.
Through feeling, thought begins to take form as a conceptual force.
The complex interplay of the transversal passage between thought-concept-articulation-
For Whitehead, feeling is the pulsion that transduces thoughts into becoming concepts.
Feeling is a pulsion to think, a sensitivity that situates thought in the world. Through feeling, thought's affective tonality is foregrounded.
Affective tone is an environmental resonance of a feeling-in-action, as a vibrantile force that makes a resonant milieu felt. (The Hungate, Norwich, Propositional Workings)
Feeling Is Affect Bleeding Into Thought.
Activating complexities on the verge of expression. At the threshold of thought as creation, feeling provokes an aperture for that which has not been thought.
Thought is a lure for feeling that prearcticulates the virtual inflections of its incipient expression.
Feeling-with is not without thought, it is a force for thought.
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