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.