Drawing Technicity : Lines/Choreographies for Potential Eventness.

 Outpost 010823

New Occasions of Experience.

Housing The Body.

Dressing The Environment.

Forcefields/Associated Milieu.

Individuations Dance.

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. There is no stage at which  human beings do not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space, Lefebvre. 1991.

 

Durational play, crafting of the as yet unthought, where the microperceptual and the micropolitical meet to create new movements in the making.

We land/dance into the focus of an awareness that becomes us.

Objectiles thrown into the world and invitations to move-with.

Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience.

The proposition I am seeing on the table is a hammer, the eventness of the proposition now persists in my hand, what moves a body, returns as a movement of thought.

Objects exist in the between of a proposition and its eventness, in so doing they are inciting co-constellations of movement-moving.

Technicity and its choreographies for potential eventness.

In this strange time-loop, what is lived is less the encounter with space pre-formed or objects pre-existent than a direct experience of relation.

William Forsythe/Erin Manning.

Making Divides Fluid.

Fielding Differences With Curiosity.

Kairos, the movement and its moment.

Being Alive, Tim Ingold.

Much of our thinking happens across various kinds of divides.

Choreographic Thinking.

Choreography has the capacity to craft an associated milieu of relations that extends far beyond the stage.

Experiencing environment as gradually taking form, using choreographic objects to help shift the everydayness of time, towards the durational time of play. The choreographic proposition begins with the folding of space more than the form-taking of bodies.

A Lure For Feeling.

Like his choreographies Forsythe's choreographic objects are created with very precise conditions for the movement experimentation. They insist on the precision of parameters for movement (technique) without divesting the movement of its potential for eventness (technicity). They are carefully crafted towards generating certain kinds of participation and yet unforeseeable in their effects.

Erin Manning.

An Attitude to History.

At Castelvecchio, Carlo Scarpa embarked on a much more far-reaching idea of not only cleaning the building but attempting to clarify and expose the layers of history by selective excavation and creative demolition. He attempted to cut and then disentangle one epoch's construction from another so that the building itself becomes a giant exhibit revealing its growth and change in nature.

Scarpa was primarily interested not in any concepts of restoration but an idea to do with historical clarity, making history visible by the co-existence of overlaying fragments of construction.

Ceramic Testing/Prototyping/Making

Hungate Glass Assemblages.

Drawing/Diagrams/Choreographies into the Architectural Body.

Relationscapes/Propositions/Organism/Person/Environment.

Arakawa, Gins, Manning, Forsythe, Irwin.

Shotesham SPAB.

Bayfield Hall Sculpture Trail.

Propositions into the Figural.

The Social/Private Body on Display.

The Physical Self, Peter Greenaway. 1992. 

As we draw the human figure we both reveal and hide ourselves and it.

The Life Room is a peculiar place and Life Drawing is a bizarre activity.

How you draw is contingent on why you are drawing.

What you bring to the Life Room defines you.

Before embarking on a program of Life Drawing, you need to ask yourself how and why you are doing it. Your answers to these two questions should qualify each other.

We do not dispute that Life Drawing is an important aspect of an art education. But if it is to be significant, it must extend into the rest of life and begin to touch upon things that matter to you, otherwise it is an empty activity, the development of a skill with no purpose.

Peter Stanyer, Terry Rosenberg. 1996.

What is the occasion and purpose of the drawing?

We need to be aware of what it is we need to reveal.

Is the nude as a form of art still valid?

The curious and uneasiness of the psychology of nakedness.

The practical and theoretical issues of the confrontation with the the unclothed human form.