Outpost 050224
Walking with Carlo Scarpa, Brion Cemetary.
Trust in the material and its 'spiritual incitement' that comes from the world.
The spatial dimension of this small building is a metaphor for the mental workings of meditation. The Pavilion is the place where we can enter the minds' empty space/stillness, where we can get away from all our passing concerns.
Thresholds, Carlo Scarpa/Ina Macaione.
Life Affirming Sentiments.
Light-Shade
Bitter-Sweet
Vital Nourishment.
Departing from Happiness.
Feeding the Body.
Feeding the Soul.
Francois Jullien
The Flame of a Candle.
Gaston Bachelard.
On the Loss of (Dark) Inside Space.
Constanze Kreiser.
Is inside space on the verge of disappearing?
Is it being hindered by constantly improved light technology which is causing one of its fundamental qualities – darkness – to dissipate?
And for what reason?
Is it for the benefit or more outside space?
Or for the benefit of a new spatial quality?
Questioning the way increased use of artificial lighting affects interiors, architectural designer and installation artist Constanze Kreiser opens a philosophical examination of the mediating effect of light. She observes how an enclosure is gradually made lighter in the sense of weight and mass through the addition of openings that emit or filter light. Her polemic on lightness and darkness raises questions of how light measures time, space and inhabitation and the temporal rhythms of everyday existence.
Light constitutes space in that it creates bright and dim zones, enabling the physical perception of a space.
Space does not originate with the construction of a building, but exists in the act of marking a small unit from an infinite quantity. It is exactly this process which is achieved by sunlight: that which it illuminates is outside, shadowed surfaces forming inside.
Depending on whether lightness or darkness dominates, inside space is a dark space by day and a light space at night. Thus inside space is dependent on light, it is in constant contrast to the prevailing light conditions. Inside space at night has, however, existed only as of the invention of artificial means of lighting – from pine-torches to light bulbs. By day, inside space floats like a dark island in a sea of light.
Bodies and Mirrors.
Ann C. Colley discusses the correlation between physical bodies and their surrounding, particularly the space of nostalgia and recollection in Victorian literature. Working from the role memory plays in recalling our relationship to known environments. Her text through selected autobiographical accounts discusses the spaces of childhood through the invisible, aesthetic and ubiquitous body, and the proposal that the interior is not simply defined by objects within it, but by our movement and inhabitation around and among them.
Three distinct models of how the consciousness of one's physical being illuminates the interiors of home. John Ruskin text speaks of the invisible body, Walter Horatio Pater of the aesthetic body and Robert Louis Stevenson of the ubiquitous body.
They, Ruskin, Pater and Stevenson considered how their physical being had related to the walls and windows of childhood. Conscious of how this relation defines the sense of one's surroundings, they let their memories resuscitate the dialogue their bodies had once had with these interiors. They understood that it is the child's being that shapes and illuminates the interiors of home. Articles do not define interiors; bodies that move and feel their way among these objects do.
Intimus, Interior Design Theory Reader.
Their orientation anticipates those like Maurice Merleau-Ponty in The Primacy of Perception who argues that it is not through thought, absented from the body, that one knows one's surroundings, but through one's 'bodily situation' – that one is conscious through the body's position in space. This is taken further by twentieth- century architectural theorists such as Kent Bloomer, Charles Moore and Robert Yudell, who insist that one measures and orders the world from one's own body, and that the body is in 'constant dialogue' with the buildings surrounding it.
Body, Memory and Architecture.
Drawing Inscriptions/Spaces/Breaths.
Remaining in the simplicity of our origins.
A Breathturn.
A flow of energy that wends its way ceaselessly through the world, animating it as it goes.
Simple pots of simple thinkings/orderings and findings/feelings attained through the privilege/practice of the beginner's mind.
Sadhana, bearing the difficulties of existence.
Working Interiors for the making of the imagination.
Marking of a small subjective space from a infinite quality.
Ceramic Volumes/Vessels and Surfaces/Openings of Light and Dark.
On Drawing/Conversation.
Twombly/Artaud.
Corporeal Acts.
Documents and Sensation.
Images 'exist' in a domain of emotional and physical extremes.
.In drawing, acts of reading and perceiving are concurrent as a simultaneity of mental factors.
I am interested in the way the inter-connectedness between inscription and representation is 'grounded' in the primitive body. I an not speaking of the language of depiction and representation, but of what constitutes the mental energy of engagement, that is so evident in drawing. How the markers of an action translate the murmurings of the mind. For both drawer and viewer the mark and its imaginary space are encountered as a fact of existence as such it is the evidence of beingness, concerning those primitive, dark, and distant moments, etched in our psychic history that exist within the framework of the image that is now being invested in the work.
Avis Newman.
The Doctrine of Introversion.
The artist struggling to conform to the patterns of everyday existence.
I can't respond to the society I live in.
David Sylvian.
Placidity.
Condemned to the eternal silence of processes.
Zhuangzi.
INTIMUS.
Mark Taylor, Julieanna Preston.
Matrix Key/Components, clockwise.
Practical Issues
The Field of Possibilities.
The Organizing Matrix.
Date of Publication.
Time Period Discussed.
Disciplinary Orientation.
No comments:
Post a Comment