Ceramic Deconstructions of Hidden Architectural Interiors : Spaces/Surfaces/Interiors on Solitude/Sensuality

Sensing Architecture : Movements of  Human Bodies/Spatial Bodies.

Thinking/Making within gestures of drawing spatial speculation.

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A Philosophy of Solitude.1933

In Defence of Sensuality.1935

John Cowper Powys

Exploring the space of solitude, to explore ideas and thoughts with a public. The hermit as a proto-performance artist displaying qualities of spirituality, intelligence, artistry and sensuality.

Anne Douglas.

The Hermit Project.

The Follies Journal. 2003

The House Fifteen Foot Square.

The proposed Hermitage at Cadland (drawing).

Interior Spaces.

The Alchemy of Imagination.

In the dead linen in cupboards I seek the supernatural.

Joseph Rouffange.

The wardrobe is filled with linen, there are even moonbeams which I can unfold.

Andre Breton. 1932

The Permanence of Childhood.

On Poetic Imagination and Reverie.

Gaston Bachelard.

While the child was dreaming in solitude, he experienced a limitless existence. His reverie was not merely an escape. It was a reverie of flight. Dreaming of childhood we go back to the den of reveries.

All the ideas that I want to put forth in this chapter tend to establish the persistence in the human soul of a nucleus of childhood. Of a motionless but enduring childhood outside of history, hidden from others disguised as history when it is narrated, but having real existence only in its moments of illumination which is to say in its moments of poetic existence.

Chamber Music/Reverberations.

Constructed Space/Ceramic Forms.

On Silences, Surfaces, Interiors and Depths.

Wardrobes with their shelves, desks with their drawers and chests with their false bottoms are veritable organs of the secret psychological life, indeed without these 'objects' and a few others in equally high favour, our intimate life would lack a model of intimacy.

They are hybrid objects, subject objects, like us, through us, and for us they have a quality of intimacy on the shelves of memory and in the temples of the wardrobe.

But the real wardrobe is not an everyday piece of furniture, it is not opened everyday and so like a heart that confides in no one, the key is not on the door. Many a time we dreamed of the mysteries lying dormant between its wooden flanks.

Rimbaud designates a perspective of hope, what good things are being kept in reserve in the locked wardrobe? This time it is filled with promise, it is something more than a family chronicle.

Exaggeration is always at the summit of any living image, and to add fantasy to linen is to draw a picture, by means of a volute of words off all the superabundant blessings that lie folded in piles between the flanks of an abandoned wardrobe.

Drawing The Body/Figure Event : The Luminescence Of Space.

Outpost 230323

Drawing, depicting something found through the process of making visible.

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The Luminescence Of Space.

An Archaeological Inquiry Into Drawing.

Correspondences/Reclaiming the drawings.

The Affect and Memory of Drawing.

To interrogate ways of seeing/looking, John Berger. 

The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.

Colin Renfrew.

The Myth of Butades.

Figure/Ground Relationships.

Theoretical Thought : Diagram and map.

Neo-Sumerian temple plan on clay tablet from c. 2100BC.

The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.

Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.

Drawing/Substance/Memory/Display.

The artist's creative act, is of a self amongst others.

Material/Thinking Matter.

Drawings mediated by the distance of memory.

Art Works, subtle embodiments, visual markers both spatial and sociological.

Life/Drawing/Figuring It Out.

The Luminescent Dematerialization Of The Subject.

Expressions Of Both Figuration And Abstraction.

Phenomenological approaches to Drawing/Looking/Others.

Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.

Walking/Movement is quiet literally what made us human.

The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.

Richard Long/Colin Renfrew.

Charles Mausson.

Walking Man, No. 3. 1990.

Oil, crayon, 203.0 x 137.0 cm.

Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.

Robert Combas. 1993.

 

The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet. 

Sophie Dupont. 1995.

The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.

The legibility of the photographic image was denied by the process of blurring the image.

Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.

William Jeffett. 1995. 

Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.

Figural Expressions.

Figural dissolution of a nude descending a staircase, Marcel Duchamp.

Stop-motion photography of the human body in motion, Etienne Marey.

Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.

Notations.

Contemporary Drawing as Idea and Process.

Fred Sandback.

The Drawing Room.

The Secret Theory of Drawing.

Jim Dine.

Figure Drawings, 1975-79.

The Drawings of Richard Diebenkorn.

John Eldenfield.

Manuel Neri.

Drawings/Relief Sculptures.

Naked To Nude.

Life Drawing in the Twentieth Century.

Georg Eisler.

The Diagram of the Painting/Fielding the Feeling of Force taking Form

 Outpost 240723

The plurality alive in art, always risks being overtaken, colonized, immobilized and arrested by the forces of encounter it invites. Yet paraphrasing Nietzsche, Deleuze writes, a force would not survive if it did not first of all borrow the features of the forces with which it struggles. What a will wants is to affirm its difference. Through the will to power, force takes form.

Active force always risks capture by reactive force and the risk of translation, of rendering work within a stabilizing narrative of identity or representation.

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The diagram of the painting/drawing is its feeling of force taking form that is itself in movement.

Relationscapes, Erin Manning.

Propositions of Force/Appetition.

The Work's Diagram.

The force of the work is an emergent way of looking, more than an actual taking form.

Raveningham Diagrams for Sensing the Landscape. 2023.

Opening the present to its potential for experiential complexity.

Opening to the indeterminacy of experience.

Creating work that remains open to an infinity of potential evocations.

Making works that resonate with an ontogenitic plurality of sense(s). 

The same object, the same phenomenon changes sense depending on what force which appropriates it. Deleuze.  

We become sited in the fielding of the quasi chaos of microperceptions, an experience that leaves us out of breath, our muscles tense with the twitching of kinaesthetic empathy. We move with the intensive magnitude of the micromovements moving.

Erin Manning.

Landing sites choose us, creating an associated milieu that worlds the body-environment. 

Some are perceptual, some are dimensionalizing, some are imaging. 

Organism-Person-Environment

A decision is like a hook onto the environment to gain traction on it.

Fielding how we think-feel.

Nothing happens without kinaesthetic instigation and corporeal proddings.

A landing not so much into a place, as a dancing into attendance.

Architectural Body, Arakawa/Gins. 2002.

A choreographed encounter is never, wholly what it seems, you can't really choreograph movement because we are constantly in a process of fielding our surroundings, which also fields us. How we think-feel is a space-time of experience alters where and how we can experience it. This fielding is how Arakawa and Gins define a landing site.

Erin Manning. 

The decision of the landing site is its focusing into experience.

For Whitehead a decision is a becoming actual of a virtual potential, and decision is what gives the event form and by consequence creates an individuation. The decision is the separating off, the honing in that makes a particular tonality take form.

We Land into the focus of an awareness that becomes us.

Actuality is the decision amid potentiality. 

A decision creates the potential for consciousness, not the other way around.

Whitehead. 1929/Erin Manning-Interlude.

For Arakawa and Gins, landing sites corner experience in the making.

A landing site is an activity that is as expressive as it is organizational.

Apparatuses/Diagrams

Holding their form, their bodies pause, the camera waits for them.

In the work's final form, the force of its potential can still be felt, this is the works diagram.

The camera focuses these sites into an in-gathering that captures them as transitory thought-feelings. We feel the shift from dances in the making to haptic experiments in the viewing.

The camera works with the tensile activity of the dancers minimal gestures, moving now to one side as though filming four bodies in one, suspending our attention in tandem with the suspended bodies.

Sculpting in Time.

Films heavy with the languor of relationships forming between bodies, ground, and partitioned space.

For Tarkovsky, the presence of the camera is felt as though it were another body, forcefully moving us to watch, constraining us to see not only a location or a dance, but the tensile rhythm of groundedness itself. The camera bis not there only for the recording, it feels the weight of the waiting, physically as we watch. These shifting affective tonalities are landing sites. They are what Arakawa and Gins call a depositing of sited awareness.

Erin Manning.

Fielding Assemblage : Trace/Diagram/Canvas/Paper/Studio Wall

Textual/Conceptual Forces/Siting Awareness.

Cultivation Field Research Collage

Geological era 1800.

The deep intervention into nature by humans as biological and geological agents.

The Anthropocene denotes a new framework of thinking and action.

A space where the individuals mental reality meets 'cultural narratives'

Social Conditioning/Underpinning Education.

Spatial Register between Consciousness and Social Existence.

Windows/Boundaries between the personal and the commonly shared. 

Confessional Animal/Jean-Jacques Rousseau.

Corpus/The Individual Presence/Jean-Luc Nancy

Camera Obscura of Ideology/Sarah Kofman

Ceramic Diagram of Interlocking/Partitioned Spaces.

From Models to Drawings.

Spatial Tonalities/Affective Environments 

Filtered Light.

Biosphere/Archipelago : Sun Drawing/Cyanotype/Spheres of Activity

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings, 

precision and indeterminacy, human form, ecology, 

environments, contemporary art practice

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave

Procedural Architecture/Architectural Body

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins, 

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists, 

Hyde Writers, collaborations. visual art, poetry

Spatial Practices/Apparatuses/Events : The Scriptorium : Collage, Architecture and Blueprints.

A HUT WITHIN THE INFLUENCE AND NATURE OF ARCHITECTURE

The tendency of technological culture to standardize environmental condition and make the environment entirely predictable is causing a serious sensory impoverishment. Our buildings have lost their opacity and depth, sensory invitation and discovery, mystery and shadow.

Juhani Pallasmaa. Hapticity and Time.

Notes on Fragile Architecture. 2000

Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006

Immersive
the "cave" paradigm, the virtual helmet, the black-box video, the earphone set

Alienated
taking technology and "making it strange," exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation

Interrogative
work that repurposes  or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems

Residual
work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one

Resistant
work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them

Adaptive
work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question 

Domain-Court-Cell : Research Collages, UCA Interior Design MA

02/10/21



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Reclamations/Ruins on the photographic surface : Volatile Inscriptions around the Body/Cartwheels

The Photographic Image/Volatile Bodies/Architectural Ruins

Helena Eflerova

Interior Spaces, Waverley Abbey.

The future must no longer be determined by the past. I do not deny that the effects of the past are still with us. But I refuse to strengthen them by repeating them, to confer upon them an irremovability the equivalent of destiny, to confuse the biological and the cultural. Anticipation is imperative. 

Helene Cixous, “The Laugh of the Medusa” (1980:145)

The Language Of Women

Volatile Bodies/Sexed Bodies : Elizabeth Grosz

1  have  attempted  to  read  the  male  discourses  dealt  with  here  as  discourses for  and  about  men,  discourses  which  have  ignored  or  misunderstood  the  radical implications  of  insisting  on  a  recognition  of  sexual  specificity,  discourses  which have  presented  their  claims—radical  as  these  might  be—without  any  understand­ ing of their relevance to or usefulness for women’s self-representations. I have not attempted  to  give  an  alternative  account,  one  which  provides  materials  directly useful  for  women’s  self-representation.  To  do  so  would  involve  knowing  in  ad­vance,  preempting,  the  developments  in  women’s  self-understandings  which  are now  in  the  process  of  being  formulated  regarding  what  the  best  terms  are  for representing  women  as  intellectual,  social,  moral,  and  sexual  agents.  It  would involve  producing  new  discourses  and  knowledges,  new  modes  of  art  and  new forms  of  representational  practice  outside  of  the  patriarchal  frameworks  which have  thus  far  ensured  the  impossibility  of  women’s  autonomous  self-representa­tions,  thus  being  temporally  outside  or  beyond  itself.  No  one  yet  knows  what  the conditions are for developing knowledges, representations, models, programs, which provide women   with  nonpatriarchal  terms  for  representing  themselves  and the world from women’s interests and points of view. This book has been a pre­liminary  exploration  of  some  of  the  (patriarchal)  texts  which  feminists  may  find useful  in  extricating  the  body  from  the  mire  of  biologism  in  which  it  has  been entrenched.  But  the  terms  by  which  feminists  can  move  on  from  there,  can  su­persede  their  patriarchal  forebears,  are  not  dear  to  me.  But  perhaps  the  frame­ work  I  have  been  trying  to  use  in  this  book—a  framework  which  acknowledges both  the  psychical  or  interior  dimensions  of  subjectivity  and  the  surface  corporeal exposures of the subject to social inscription and training; a model which resists, as much  as possible,  both  dualism and  monism; a model which  insists on  (at least) two surfaces which cannot be collapsed into one and which do not always harmoniously  blend  with  and  support each  other; a model where the join,  the interaction of the two surfaces, is always a question of power; a model that may 

be represented  by  the geometrical form of the Mobius strip’s two-dimensional torsion in three-dimensional space—will nevertheless be of some use if feminists wish to avoid the impasses of traditional theorizing about the body.

Patti Smith

Cartwheels

Come my one, look at the world Bird beast butterfly
Girls sing notes of heaven Birds lift them up to the sky

Spring is departing Spring is departing

Her thoughts are darting like a rabbit Like a rabbit 'cross the moon
Shines of light over your hair As boys croon

Pretty in pink It makes me wonder
What could ever bring you down I see tears falling
From those eyes of brown

Hearing a voice, you turn your head You vanish into the mist
Of your thoughts And I
Want to grasp What brings you down
Open up those eyes of brown

The world is changing Your heart is growing

Hearing a voice you turn your head Girls turn by ones, by twos
Notes pour bad and tender Eradicate your blues

The good world The good world
Come my one, look around you Bird, beast, butterfly
Girls sing…