Strange Messengers.
Notes On Architecture.
Bodies In Space.
Sensations In Space and Time.
The Experience/entanglement of phenomena and idea.
Gildengate Documents/Collage/Pottery Works Farnham.
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Sunday, 9 February 2025
A Body Of Relations : Knowledge Production/Creative-Embodied-Practices
GILDENGATE HOUSE
*STUDIOS UPDATE*
Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.
OUTPOST STUDIO 181121
Organism-Person-Environment/Architectural Body, Arakawa and Gins.
Haptic slippages between subject and object, between what is alive and what is animate.
Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.
https://axisweb.org/artist/russellmoreton
https://www.anglianpotters.org.uk/members/russell-moreton/
Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.
The Sensation of Flesh/Skin, Surface and Subjectivity.
Material Thinking and the Agency of Matter.
Barbara Bolt. 2007.
Things and Bodies/Shifting Signs
The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.
Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.
Time is persistently liminal, a suspended, extended present.
Mattering/Mutability, Accident, Flux
Experience/Existence/Presence
Life Drawing/Staging Oneself/Others
Body in Space/Resilience, Endures
An ecological view of cognition, knowledge of the world comes from engagement with things.
Rather than studying the world as an object, we correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.
Tim Ingold. 2013.
Making as a process of thinking.
Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form.
I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.
Barbara Bolt. 2007.
Creative 'practice' and the embodiment of the 'social'.
The Life Class/The Artist's Studio.
Knowledge is emergent as the artist engages with the environments and processes of practice.
Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.
The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.
Tim Ingold. 2000.
Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry.
A Body Of Relations
Reconfiguring The Life Class
Yuen Fong Ling. 2016.
Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.
In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.
Modelling Subjectivities
Life Drawing, Popular Culture and Contemporary Art Education.
Margaret Mayhew. 2010.
Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.
The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.
Margaret Mayhew. 2010.
The body is never isolated in its activity but always already engaged with the world.
Merleau Ponty. 1999.
Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside.
Photography and the permeability of time evoking a physical experience of observing and examining other worlds.
Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.
The intimacy and equivalences created through the photographic experience.
Her inert body both inside and outside the vitrine.
Potentially something dangerous about the experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.
Here the viewer has the sensation of seeing through a double protective layer of glass and skin.
Art Practice/Building Distant Realities/Wonder
Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.
Written on the body, maps and navigations of interior spaces. Winterson/Woodman.
Her poetic image of a space that presses psychically on her from the outside.
The earthbound, partial female body, transgressions of the everyday limitations on the body.
The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.
Through and beyond the drawn/sculpted and painted body.
Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.
Diffracting Drawing and Painting.
Mattering as a reconfiguration of its own making, understanding and encountering.
Atmospheres : Architectural Environments, Surrounding Objects.
Peter Zumthor. 2010.
Manuel Neri, Studio, Benicia, 1980
Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976
Thursday, 6 February 2025
Making Processual Paths Of Volatility : Ceramics
Outpost 171225
Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.
Lines. (Making/Thinking/Matter/Material)
Tim Ingold
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What Is Art ?
Joseph Beuys.
I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,
Volker Harlan.
Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.
Thinking Processual.
Resistance/Viability : Mapping/Living
Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).
Kovar/Deleuze.
The Architecture of Abjection.
The Logic of Sensation.
Working From Simple Things/Gestures/Materials.
https://www.flickr.com/photos/russellmoreton/
Theoretical Movements in Clay+Ceramics.
The Circular/Elliptical Matter/Mattering of Things.
Gathering/Pouring/Manifolds : Forms of Thinking.
Events.
Arte Povera.
The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
The Quiet Mind : Silently without resistance
(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet.
Meditation
The meaning of that word is to measure, basically (for oneself).
Human Bodies/Spatial Bodies.
Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys.
Penone, wooden frame, human body, empty frame installed in a stream.
Beuys, accumulator, clay balls, wires, simple sturdy wooden table.
Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.
The Enabling Constraint.
Erin Manning.
Visual Art Practice. 2024
Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.
In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.
Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.
Abject(ion) re-configure the body and space physically through the transference of matter.
Architecture Without Organs (BwO)
The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.
Deleuze and Guattari.
BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?
The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections.
To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.
Open Subjectivities.
Unmaking The Human Body/Subject.
Blurring the boundaries between interior and exterior.
Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.
Reliquaries of Light and Darkness.
Bodies, spatial and human in transitional movements.
The Sacred and The Medical Body.
The Hospital Room.
The Killing of a Sacred Deer.
Cronos.
Clay/Working/Learning/Making.
Working in Clay and Fire /Mapping Resistance and Viability.
City of Orion, ceramic objects in the landscape.
Raveningham Sculpture Trail. 2024
Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.
Water at The Hungate, Norwich. 2023
Exhibitions with Anglian Potters.
Ferini Gallery, Lowestoft. 5
Undercroft, Norwich. 4
All Saints, Cambridge. 2
2019-2024.
Revisited Contemporary Ceramics
Things of Beauty Growing.
The Fitzwilliam Museum. 2018
Anglian Potters. 2018
Teaching Sessions, throwing/handbuilding.
Brockwood Park School. 2012-2015
Speculative Clay Workshop/Walking in the Landscape.
Teaching Academy, Brockwood Park School. 2011
Raku Firings.
St Ninian's Cave.
Scotland. 2013
Bodyscapes, raw clay installations.
Chapel Arts Studios, Andover. 2010
The Yard, Winchester. 2009
Contemporary Craft Ceramics. 2004-2006
Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002
Dexterity Crafts.
Potter throwing domestic pottery.
Walton on the Hill. 1985
Ceramics, architecturally influenced vessels in slab and thrown processes.
Epsom College of Art and Design. 1981-1984
Industrial Pottery experience.
Grayshott Pottery. 1979-1981
Studio Pottery experience.
The Hop Kiln Pottery. 1978
A Level Ceramics.
Farnham Sixth Form. 1976-1978
Wednesday, 5 February 2025
Material Matters : When your mind starts moving.
Making : The Processual Character of Form.
Dwelling.
Rethinking the animate, re-animating thought.
Tim Ingold.
Ingold insists on a flat, continuous and processual ontology of dwelling and becoming.
A Practice of Transformational Modalities.
Making/Curriculum/Dwelling/Landscape/Place.
The Processual Character of Form.
Organic life, as I envisage it, is active rather than reactive, the creative unfolding of an entire field of relations within which beings emerge and take on the forms they do, each in relation to the others. Life is the very process wherein forms are generated and held in place.
For Ingold, there is no environment without the folding and enmeshment that is the process of life. Organisms are not folded in on themselves and surrounded by an 'environment'. Instead organisms are points of growth of environment, and whose relations are rhizoidal; and the environment is better understood as a domain of entanglement.
Thursday, 30 January 2025
Outpost 300125
Vitamin C
Clay+Ceramic
The Ceramic Reader.
Flooring Texts
Lines : Tim Ingold.
Notations
Contemporary Drawing as Idea and Process.
Drawings that are habitable.
The line is a whole, an identity, for a particular place and time.
Fred Sandback did not create new environments with his yarn works. Instead, he thought of his sculptures, the existing gallery space, and viewers all coexisting and able to occupy essentially the same space.
Visualizing Feeling.
Affect and the feminine avant-garde.
Susan Best.
Surrealism, the feminine and sexuality.
Bodies in the Filmic Medium.
Film.
Tacita Dean.
Senses Of Cinema.
Philippe Grandrieux.
The Belly of an Architect.
Peter Greenaway.
Optics Nihilist/Paintings Body and Mind In The Films Of Gasper Noe.
Pipilotti Rist
Making An Exhibition.
Interior Architecture 'sip my ocean'
Uta Barth
Stefanie Schneider
The Camera Obscura becomes a small portable box.
From Shadowgraphs to Alchemy.
The Photogram.
The Cyanotype.
Heterotopias.
Of Other Spaces.
Michel Foucault.
The Observatory by Robert Morris.
Joseph Cornell And Astronomy.
A Case For The Stars.
Kirsten Hoving.
Field Studies.
A Philosophy of Solitude
John Cowper.
The Poetics of Space
Gaston Bachelard
Space can be poetry.
To receive a new poetic image is to experience a quality of inter-subjectivty.
A felicitous space.
Poetry possesses a felicity of its own, above that of the actual experiences of the poet.
On the origins of a thought.
Not knowing is not a form of ignorance, but a difficult transcendence of knowledge.
The poetic image places us at the origin of the speaking being; after the original reverberation we are able to experience resonances, sentimental repercussions, remainders of our past. But the image has touched the depths before it stirs the surface.
The house, as an entity for a phenomenological study of the intimate values of inside space, its unity and complexity.
Inquiry focused on the house, its interior places and its outdoor context.
The house, from cellar to garret, the significance of the hut.
The soul comes and inaugurates the form, dwells in it, takes pleasure in it.
The page possessing a sonority.
A poet's word, because it strikes true, moves the very depths of our being.
Contemporary painters no longer consider the image as a simple substitute for a perceptible reality. By the swiftness of its actions, the imagination separates us from the past as well as from reality, it faces the future, a function of unreality.
If we cannot imagine, we cannot foresee.
Monday, 27 January 2025
The Centrality of the Human Body to Architecture : Quotidian Aesthetics/Interventions
Outpost 270125
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https://www.flickr.com/photos/russellmoreton/
In-Transit
The Complex Process of Knowledge Production.
The Narrative of Theoretical 'Unravelling'.
What Is An Artist?
Irit Rogoff. 2006
Robert Morris
Catalogue Entries.
Columns, 1961
Passageway, 1961
Box For Standing, 1961
Portals, 1961
Box With The Sound Of Its Own Making, 1961
Early Minimalism
Measurement, 1963
Imprints And Body Casts, 1963-64
Site, 1964
Leads, 1971
Felts, 1967-83
Dirt, 1968
Continuous Project Altered Daily, 1969
Observatory, 1971-77
Rubbings, 1972
INFRA-THIN
Sensations between objective knowledge, difference and truth.
Post-structuralism, A very Short Introduction.
Catherine Belsey.
The Architecture of Emergence.
The Evolution Of Form In Nature And Civilisation.
Michael Weinstock.
The Architecture Of Continuity.
Lars Spuybroek.
The Body.
The Lived Body.
The Flesh of Things
Donn Welton
Written On The Body.
The World and Other Stories.
Jennette Winterson.
Painting for Bacon was a visceral event a sensation, driven by emergent behaviours and phenomena.
Ceramic spatial inceptions with circulating totems.
Slab built, Stoneware. 2025
Tentative/Theoretical/Speculative Landing Sites.
Between Organism-Person-Environment and its Spatial/Architectural Body.
Preface.
Stefan Fichtel
Well-made animated information graphics are based on clear decisions about what matters and what should be left out.
Human Body/Indexical Trace on dot-matrix paper.
The Centrality of The Human Body to Architecture.
Undone/Assemblages of Concern.
Collage as the third aesthetic.
Ranciere argues for collage as 'third' aesthetic: it can combine two relations and play on the line of indiscernability, between forces of sense's legibility, and the force of non-sense's strangeness.
The Dark Monarch.
Magic and Modernity in British Art. 2010
The Bricoleur/sweeping the floor/movements in matter/spatial layering, thought in motion.
Embodying Emotion Sensing Space:
Introducing emotional geographies.
Joyce Davidson, Christine Milligan. 2004
Studio Floor Material.
The Artist's Reality
Philosophies of Art
Mark Rothko.
Culture, Creativity and Environment.
New Environmentalist Criticism.
Fiona Becket, Terry Gifford.
Ecology Without Nature.
Towards a Theory of Ecological Criticism.
Timothy Morton.
Visual Ecology
Transparency : Expressing the Unseen.
Transparency-the ability to see into and understand the inner workings of a landscape-is an absolutely essential ingredient to sustainability. In a world where more and more of the technology controlling our lives is not only beyond our individual control but is also invisible and incomprehensible to the average person, the landscape sreves not only as the foundation for our only genuine 'tangible' reality, but as the only mechanism by which we can really know where we are-and how and why as well. It can be argued that as humans we have a right to know where we are, how we are connected, and how we are doing.
Gray World, Green Heart.
Robert L. Thayer, Jr.
Julia Kristeva
Black Sun.
Depression and Melancholia.
Susan Sontag
Under the Sign of Saturn
After Hiroshima
elin o'Hara slavick
On Pictures and the words that fail them.
On An Image Of A Bottle
James Elkins
A Field Guide to Melancholy
Melancholy and The Landscape
Locating Sadness, memory and reflection in the landscape.
Jacky Bowring
Who Comes after the Subject?
The essays collected in this volume present the current research of nineteen contemporary French philosophers on one of the great motifs of modern philosophy: the critique or the deconstruction of subjectivity.
Eduardo Cadava, Peter Connor, Jean-Luc Nancy.
The Enchantment Of Modern Life.
Attachments, Crossings, and Ethics.
Jane Bennett
Ordinary Lives.
Studies in the Everyday.
Ben Highmore.
Everyday/Quotidian Aesthetics.
Ranciere is perhaps the contemporary writer most alive to the productive and necessary confusion between aesthetics as a general field describing the realm of sensate perception, and the more limited meaning relevant to the field of art that has taken shape in the West in the last two hundred or so years. And it is this confusion (a confusion that infuses both the general and the limited economy of aesthetics) that we can find the materials to help us build a quotidian aesthetics.
The Politics of Aesthetics.
The Distribution of the Sensible
Jacques Ranciere.
Emergent behaviours/phenomena to generate buildings.
Screen-shot CCTV.
Fire exit intervention WSA. 2008
The Centrality of the Human Body to Architecture.
Framing/Temporal Containment/Instances and Immediacies : Human Bodies/Spatial Bodies.
Friday, 24 January 2025
Outpost Studio : Undone
Outpost 200125
Expanding The Files.
Undone
A theorist is one who has been undone by theory.
Rather than the accumulation of theoretical tools and materials, models of analysis, perspectives and positions, the work of theory is to unravel the very ground on which it stands. To introduce questions and uncertainties in those places where formerly there was some seeming consensus about what one did and how one went about it.
Irit Rogoff : What is a Theorist? 2006
Thursday, 23 January 2025
FORMWORK / ENCLOSURES / ITERATIONS / THINKING FORMS : Material Agency as Cognitive Scaffolding
The 'exigencies' of the situation at hand.
Tim Ingold, MAKING.
Spatial Intelligence/Architectures
Abject (ion) Body and Matter in Process/Processual Relations.
https://www.flickr.com/photos/russellmoreton/
Getting Lost, Walking whilst deep in thought/embodiment in the environment Between PLACE and SITE
People make space, and space contains people
IMMATERIAL / REPETITION / SINGULARITY
ENCLOSURES / ITERATIONS / THINKING FORMS
MINIMALIST SPACES / INTERVALS, tuning objects to construct environments
Mediating the experience of LANDSCAPE
SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION PIERCED DAPPLED NATURAL LIGHT
DIFFERENTIATED SHADOW / SURFACE
EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES INDEXICAL / GESTALT VISUAL PERCEPTION
NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY
Without opposition nothing is revealed,
No image appears in a clear mirror If one side is not darkend.
Jacob Bohme, De tribus principiis 1619.
Everything is interrelated and suffers when it acts, so too the purest human thought. Holderlin, 1798.
Walking creates its own feedback loop, The Journey, The Return,
The specific, Here and Now
Psychogeography, Dossier, Forensic Study, Inquiry.
Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity
LANDSCAPES Constituted by creative practice
Walks as erasures, sedimentation, (Gardiner on painting)
Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,
Everyday aesthetics, heuristic practices.
RAVENINGHAM THEMES : Working Notes
New Futures for Architecture Leon van Schaik
Spatial intelligence builds our mental space. Sensing Spaces
Architecture Reimagined Oak-Framed Buildings. Rupert Newman
Heidegger for Architects
Adam Sharr
MAKING : ANTHROPOLOGY, ARCHAEOLOGY ART AND ARCHITECTURE
Tim Ingold
Touching objects, feeling materials
The Cathedral and the Laboratory
A Hut of One's Own
Anne Cline
Solar Pavilion
Alison and Peter Smithson Architecture is not made with the brain
The Parallel of Art and Life
Aesthetics about Perception Poetics about Production
HERZOG & DEMEURON NATURAL HISTORY
My studio is a piece of architecture that is silent. Speculative Architecture
On The Aesthetics of Herzog & De Meuron
The Thinking Hand
Existential and Embodied Wisdom in Architecture
Juhani Pallasmaa
The Architecture of Natural Light. Henry Plummer
Peter Zumthor
Hortus Conclusus Serpentine Gallery Pavilion
The Potentials of Spaces
The Theory and Practice of Scenography and Performance. Alison Oddey, Christine White
See Yourself Sensing Redefining Human Perception. Madeline Schwartzman
Collage and Architecture. Jennifer A. E. Shields
COLLAGE
Assembling Contemporary Art. Sally O'Reilly
Construction/Abstraction Body/Identity Environments/Geographies
Indexical
Absences
Actuality Immaterial Architectural Sensing Surfaces,
Textures
Dimensions, Sprays, Trace
Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.
Repetition, Empirical Experiences
Forms, Pavilion, Hut, Shelter, simple enclosure
Minimalist, tuning objects, sequences to construct/de-construct environments
Reflexive Surfaces into architectural presence
Art as indeterminate, able to arrest perceptions into different states/becomings
Site, undoing of place.
Gauze/Filtered Light/Phenomena
Gesture of the work, its situation,
Meshwork. The drawing grid, making of a proposition into space.
Cyan, Sky Blue, dappled light, membrane, responding to the weather/locality
AA Pavilion Project,
Its about learning through making, being involved in the process, the installation and its reception, dislocating contextual barriers.
Ephemeral Architectures, AA Document/Project, Prizeman
Immaterial Architecture : Waverley Pavilion Building The Drawing
The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.
Immaterial Architecture The Illegal Architect Jonathan Hill
Oak
Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather
Frosted Light
Index of immaterial architectures
TRANSPARENCY : LITERAL AND PHENOMENAL. Colin Rowe, Robert Slutzky
Interactions of the Abstract Body. Josiah McElheny
Object Lesson
Interactive Abstract Body (Square) The Spatial Body (After Fontana)
Tracing Eisenman
Stan Allen
Indexical Characters FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.
ANTI OBJECT Kengo Kuma
We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects.
What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important. ReThinking Matereriality
The engagement of mind with the material world. Elizabeth DeMarrais, Chris Gosden. Colin Renfrew
The Affordances of Things
Towards a Theory of Material Engagement Aesthetics, Intelligence and Emotions Relationality of Mind and Matter
Material Agency
Towards a Non-Anthropocentric Approach. Carl Knappett, Lambros Malafouris
At The Potter's Wheel: An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.
The Neglected Networks of Material Agency : Artefacts, Pictures and Texts
Material Agency as Cognitive Scaffolding
The Cognitive Life of Things
Material Engagement and the Extended Mind. Lambros Malafouris, Colin Renfrew
Minds, Things and Materiality. Michael Wheeler
Communities of Things and Objects : A Spatial Perspective Carl Knappett
Imagining the Cognitive Life of Things. Edwin Hutchins
Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts. Charles Goodwin
Tuesday, 21 January 2025
Readings of Movement and Attention : Slow Philosophy/Clay/Ecology of Material Thinking
Land Forms/Architectures from marking movement.
Clay, Greenware. Studio Space.
Orange School Graph Books
Harleston 2020-2021
https://www.flickr.com/photos/russellmoreton/
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A Species of Spaces
The Social Turn
Museum Site and Display
Political Philosophy
Makers work in a world that does not stand still
Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations
Tim Ingold 2010
The social life of making
Making speaks in vivid dialogue with two associated themes, material and skill
Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve
Making becomes a process of iteration, and a maker works with this iteration prolifically
Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force
Vibrant Matter, A Political Ecology of Things
Jane Bennett 2010
Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds
Tim Ingold 2010
New Urban Adventures in Collaboration/Conceptual Ceramics
Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay
The transformation of the material is a central concern and semiotic significance unfolds with making
Seeking a symbiotic relationship between idea and object
Materials are substances in becoming
Karen Barad
Towards an Ecology of Materials
Tim Ingold 2012
From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis
Materials-Centered Perspective
Making, almost defies precise definition
The composition and/or manipulation of materials that bring into being new or revised objects
Tim Ingold 2010
Cultures of thrift and scavenging, maintenance and repair
Making encompasses the ingenuity of fluid, locally situated and adapted technologies
Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them
Sensibilities and dispositions that are centred on a deep and considered relationship with materials
The Craftsman, Richard Sennett 2008
Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers
Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate
Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability
The emergence of the museum as proactive laboratory of social evolution
Extradisciplinary Investigations/Operative Principle
At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice
Microtopias, small contained sites of functioning democracy
Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline
The New Institutional Practice
Projective Enterprises (should unsettle, activate, and raise questions)
The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary
So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes
Site-Specific Art and Locational Identity
Miwon Kwon 2002
Collaborations and its Discontents
Claire Bishop 2006
The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions
A complex environment, awash in affect and subjectivity
When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour
New curatorial initiatives must unpack the terminologies we use to distinguish one project from another
A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives
Unsettling-Complicit
Provocative-Strategic
Interventionist-Collaborative
Perforative Curating/Prescribed Participation
Creating new/more coded patterns of behavior/conventions/role play for visitor's
New Institionalism and the Exhibition As Situation/Social Experiment
Claire Doherty 2006
Participation
In which people constitute the central artistic medium and material
In the manner of theatre and performance
Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it
The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations
The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end
Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries
Artificial Hells (exposing the political and aesthetic limitations in the work)
Participatory Art and the Politics of Spectatorship
Claire Bishop 2011
Site-Specificity/Spatial Practice
The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate
Miwon Kwon 1997
Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames
Participation, creating a bridge between socially engaged practice and the permanent collection
Expressing itself expressing
Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions
Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact
The strategy of making artworks as response
The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement
Making vessels, beyond the examining and intellectually impoverished questions
A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside
Few boundaries are impenetrable
They are rather, semi-permeable membranes providing housing while allowing selective commerce
Like the vessel, the house shapes and nurtures the life contained inside
The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community
In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others
Clare Twomey, Lead artist at Tate Exchange 2017
Post Studio Ceramics
Interfaces between Making-Makers-Museums
Exploring object engagement beyond the known historical models of clay practice
'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital
Clare Twomey
Ceramics In The Environment
An International Review
Janet Mansfield 2005
With Fire, Richard Hirsch
A Life Between Chance and Design (invites the unknown)
Scott Meyer 2012
Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility
Raku as an Ideology
Breath-Energy-Immanence
Raku, A Review of Contemporary Work
Tim Andrews 1994
The Poetry of The Vessel
A calm invitation to thought and imagination
Chris Tyler
The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world
Arte Povera/Germano Celant, an aesthetic-philosophical movement
An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen
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