Outpost 131223
Body Movement.
Robert J. Yudell.
The interplay between the world of our bodies and the world of our dwelling places is always in flux. We make places that are an expression of our haptic experiences even as those experiences are generated by the places we have already created. Whether we are conscious or innocent of this process, our bodies and our movements are in constant dialogue with our buildings.
Problems of Method.
Novalis/Bachelard.
No vision invites him to do so, it is the very substance he has touched with his hands and lips which summons him. It summons him materially by virtue of what seems to be a magical participation. The dreamer undresses and enters the pool, only at this moment do the images appear. They emerge from matter, they arise as if from a seed out of a primitive sensual reality. A rapture which cannot yet project itself on the feminine substantiality of water. Water becomes woman against his breast.
Gaston Bachelard would like to develop a philosophy that has no point of departure, and a philosophy that is not a point of departure. Bachelard in his books, attempts to systematize formal material and dynamic imagination.
Space contains compressed time.
On Poetic Imagination and Reverie.
The Autobiography of Lost Possibilities.
Gaston Bachelard.
A dispersed philosophy that must constantly operate on its very edge, at the very limit where its systematizing impulse is challenged by the actual creations in other domains of human activity. Bachelard becomes a 'hinge' between totalizing metaphysical systems and polyphilosophy.
Bachelard does not develop a fully fledged philosophy of values, rather his books offer lessons for working, reading, breathing and dreaming well, all of which constitute an art of living poetically. Throughout his work he developed the paradox, that the primitiveness of poetic consciousness is not immediately given, it can only be a conquest. Images reveal nothing to the lazy dreamer.
Colette Gaudin.
Guiseppe Penone.
Souffle 6. 1978.
A large earthenware jar on which the artist has stamped the imprint of his own body. This process shows a sensorial conception of art, a concentration on the organic and the original, reasserting the permanent nature of myths and an animist conception. A vitality of matter, material and object.
The National Museum of Modern Art.
Georges Pompidou Centre.
Arte Povera as an artistic praxis, highly critical and anti-cultural. An art that explores a 'strange area' that is interested in elemental human situations. It was the art critic Germano Celano who in reference to the research done by the polish theatre director Jerzy Grotowski, outlined in his book 'Towards a Poor Theatre' proposed the notion of Arte Povera in 1967.
Epicurean Asceticism.
The Phenomenological Approach.
Problems of Method.
Reading as a dimension of consciousness.
For Anna Teresa Tymieniecka, the essence of life is not a feeling of being, of existence, but a feeling of participation in a flowing onward necessarily expressed in terms of time, and secondarily expressed in terms of space.
Poetry as a synthesis of human existence.
Bachelard's auditive metaphor 'reverberation' for the poetic image brings together through sound, both time and space. In its reverberation, the poetic image will have made a sonority, a situatedness of being.
Science and Poetry.
Concepts and images develop along two divergent lines of spiritual life. The image cannot give matter to the concept, the concept by giving stability to the image would stifle its existence.
Nascent Material/Media.
Drawings rendering an insistent corporeality.
Drawings loosing their haptic senses of mark-feeling and becoming increasingly camouflaged into an image based on representation of an objectified art form/context.
Life Drawings subdued by visual representation.
Is the initial situation/situatedness/awkwardness of drawing process becoming overwritten.
Drawings feeling the body marking its presence in the space /stage of drawing.
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