Erin Manning for Brian Massumi : Sylvian & Fripp - Every colour you are (live '93)

Relationscapes

Erin Manning

Movement/Art/Philosophy

For Brian Massumi

The self is only a threshold, a door, a becoming between two multiplicities.

Gilles Deleuze and Felix Guattari, A Thousand Plateaus.

Clay+Ceramics : Correspondences and soundings on deep surfaces.

Nomadic Structures~Compositions : 

Drawing Resonances~Surfaced Sounds

Works in action that are paused at specific sites of speculation.

Wayfaring~Making : Bodies Of Experience through Spatiality, Temporality, and Subjectivity.

https://axisweb.org/artist/russellmoreton

Art works in gathering and playing a 'series of exchanges or choreographed economies composed of actions, things, people, events and places' with critical spatial practices.

Jane Rendell.

Tim Ingold.

Ceramic Shelters : Transitional Zones between Thinking and Making.

Russell Moreton : A visual fine artist working with clay is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is Interested in developing speculative making spaces where craft, theory, art and architecture can come together.

Moreton's site-based practices using clay as his principle material  further develops his  inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased. 

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used  through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His  finished fired constructions could  become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s). 

Making Iterations~The Interweaving of Everyday Experience in Texture~Pattern~Weave

Affective~Ecologies~Immersive Atmospheres.

Matterings~Un-doing theory into the making of the everyday.

The Anthropology of Skill.

On the distinction between Art and Technology.

Yet speech is no ordinary skill. Weaving  together in narrative, the multiple strands of action and perception specific to diverse task and situations, it serves, if you will, as the 'Skill of skills'. And if one were to ask where culture lies, the answer would not be in some shadowy domain of symbolic meaning, hovering aloof from the 'hands on' business of practical life, but in the very texture and pattern of the weave itself.

Tim Ingold. Beyond Art And Technology.

2025 Diary Content.

May 26 - June 1

Readings and their speculations of theory into the realm of everyday practices.

Interior Spaces.

Infra~Bodies of Immediacy 

Becoming Volatile, matter(s) entering into movement, creating in~with bodies.

The permanency of ceramic objects both reflect and indexically link clay with its very nature of uncertainty and change through the very extreme and  volatile processes of firing. 

Clay is about the primacy of the corporeal human body as it attempts to express~abject itself through bodily metaphors or nesting, dwelling, nurturing and enduring.  

The Inner Life of Pots~Ceramics

Tunings~Innerness~Thresholds~Change

Sounding Voids/Muted Light

Brian Clarke

Concordia

Film, analysis, organisation of human access, wonderous, the best of myself.

Elements of flight, collage, and sensate fictions.

Hannsjorg Voth

Working with intensity(building structures)

Architectural Reflexive Spaces

Inhabitation's into the continuous weather world.

Landscapes~Making~Building~Ecologies

Innovative Objects~For Critical~Philosophical Thinking~Living.

Cognitive nature~potentiality of matter(s) of making worlds. 

Tectonics materials, matter(s) of wood, light, clay and water.

Outposts, observatories, places of inquiry, dwelling, self builds.

Independent researcher, artist in residence, works manager, project development. 

Constituting Consistencies.

Bodily/Corporeal Metaphors, Analogies and Poetics. 

Calvino, exactitude, lightness, quickness, visibility, multiplicity.

Camouflage/Concept and Design : Re-Working Aesthetics/The Everyday

Everyday Aesthetics : Ordinary Lives

If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.

Ben Highmore

Camouflage : Neil Leach

Camouflage offers  a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.

Camouflage may  therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.

In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.

Here we might cite the work of more positive thinkers, such as Fredric Jameson who looks to the realm of representation for a mechanism of reinserting the individual within society. Jameson has  developed a notion of  ‘cognitive mapping', which serves  to overcome the lack of spatial co-ordinates within a society of late capitalism. He sees the potential of such mapping within the aesthetic  domain. What we need today, Jameson seems to be saying, is a viable form of aesthetic expression that reinserts the individual into society. The aesthetic  domain can therefore be seen to be somewhat Janus-faced. It is  both the source of many  of our problems, in a culture in which everything is co-opted into images and commodities, and potentially the way out.

Aesthetic  production should maintain the capacity  to operate as  a mediation between the self and the environment, but only aesthetic production whose design has been carefully  controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively  mapping an individual within the environment. 

Design becomes  a crucial consideration for the effective operation of camouflage.

Design plays a crucial social role in offering a form of connectivity, a mode of symbolisation, that allows  people to relate to their environment. Exquisitely designed works such as S, M, L, XL can therefore be interpreted not simply as highly aesthetic publications that could be accused of a process of ‘glossification’ — of turning the world into a designer representation of itself. 

Rather they  can be seen to be operating in the very space of contemporary culture, a space that is highly visual.

The concept of ‘Camouflage’ can therefore also respond to some of the questions that Koolhaas himself raises. In his essay on the Generic City, for example, Koolhaas offers a critique of the placelessness of the contemporary cityscape, where each city is virtually indistinguishable from the next. The theory  of camouflage, however, would seem to suggest that design itself can overcome this  condition by  providing a mechanism for relating the individual to the environment. 

Design here must be contrasted to junk. If the junk  city  has  become the placeless  generic  city, the exquisitely  designed city  can become the city  of a new form of spatial mapping. This  theory  of camouflage is therefore presented not only  as  a retroactive manifesto through which to appreciate Koolhaas’s work, but also as a contribution to the debates which he initiates.

The concept of ‘Camouflage’ will allow us, at least, to move beyond the often simplistic denigration of the aesthetic realm within recent critiques of postmodern culture, and to grasp the complexities involved in our negotiation with the world afforded through that realm. Above all, it will allow us  to recognise the important strategic  significance of aesthetics in contemporary culture in general and in Rem Koolhaas’s work in particular.

The Architectural Plan

An Anthropology of Architecture

Embodiment and Architectural Form
Process-Relational Philosophy

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

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes

ARCHITECTURE
IN THE AGE  OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture

The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it

Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure

Becoming Propositional/The Human Neuron.: Each Proposition/Activates Contrast/The Dialectic of Duration.

Outpost 100823

The Dialectic Of Duration, Gaston Bachelard. 1950

Bachelard argues for a discontinuous time, made of instants out of which we construct new durations and deconstruct old ossified ones. A time experienced as durations that addresses the nature of time in its irreducibly fractured and interrupted state, and within which Bachelard urges us to launch projects and lead lives of creative rhythms. 

Becoming Propositional.

Developing in the Incipiency of Relations/Ecologies between Things/Phenomena.

One has to realize what restraint it needs to express oneself with such brevity. Every glance can be expanded into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single breath: such concentration can only be found where self-pity is lacking in equal measure. These pieces can only be understood by those who believe that sound can say things which can only be expressed through sound.

Arnold Schoenberg, from the introduction to the Six Bagatellies for string quartet, Opus 9, by Anton Webern, a Viennese friend and contemporary of Egon Schiele's.

Rachel's, Music for Egon Schiele. 1996.  

Individuations Dance/Relationscapes

There is no time to return to the line, the line must draw the movement, the gesture itself must become line. One pass with the paint and that's all, move the canvas. The result a vastness of localized movement, a movement across that is at once microscopic and macroscopic.

Erin Manning.

The Swimming Pool Drawings

Michael Grimshaw, Winchester School of Art.

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

Whitehead. 1929.

The architecting of spacetimes of experience co emergent with bodies in the making.

Choreographic Propositions/Mobile Architectures, Erin Manning.

The choreographic proposition  serves not to delineate positions or forms from one another in a normative practice of movement notation, but to create a diagram that captures in a fleeting moment the qualities of movement expressibility, such that their force of form can be felt.

Deleuze defines the diagram via Francis Bacon as the operative set of asignifying and non-representative lines and zones, line-strokes and colour patches, whose function is to be suggestive. He  speaks of the diagram capable of unlocking areas of sensation, suggesting that the diagram is chaos, catastrophe, but also a germ of order or rhythm.  

https://www.flickr.com/photos/russellmoreton/

In Closing.

OURSELVES

Here, on the edge of what we know, in contact with the ocean of the unknown, shines the mystery and the beauty of the world. And it's breathtaking.

I believe that our species will not last long. It does not seem to be made of the stuff that has allowed  the turtle, for example, to continue to exist more or less unchanged for hundreds of millions of years; for hundreds of times longer, that is, than we have been in existence. We belong to a short lived genus of species. All of our cousins are already extinct. What's more, we do damage. The brutal climate and environmental changes which we have triggered are unlikely to spare us.

For the Earth they may turn out to be a small irrelevant blip, but I do not think we will outlast them unscathed – especially since public and political opinion prefers to ignore the dangers which we are running, hiding our heads in the sand. We are perhaps the only species on Earth to be conscious of the inevitability of our individual mortality. I fear that soon we shall also have to become the only species that will knowingly watch the coming of its own collective demise, or at least the demise of its civilization.

Carlo Rovelli. 2016.

It could be said that the most fantastic material is the human neuron. It dominates most materials around it, it is a prime agent of change and determines many forms on the planet.

For Cragg, ninety-nine percent of those forms are solely utilitarian, driven by survival and economics. The result is an impoverished material world. Utilitarianism censors the possibilities of form, this not only applies to designed objects and architecture the world over, it also applies to forms of education and society in general.

Our super-thinking material the human neuron with that prime position in the hierarchy of material, has a responsibility for all other material within its grasp whether mineral, plant or animal. 

Tony Cragg, Sculptures and Drawings. 2011.

Each Proposition

Activates Contrast.

Architectures based on a full recognition of the embodied human condition and of the multitude of instinctual reactions hidden in the human unconscious. A piece of furniture sets up a proposition for a event, the encounter with itself and the body of the user.

Alvar Aalto's buildings are not based on a single dominant concept or gestalt; rather they are sensory agglomerations. They sometimes even appear clumsy and unresolved as drawings, but they are conceived to be appreciated in their actual physical and spatial encounter, 'in the flesh' of the lived world, not as constructions of idealised vision.

Juhani Pallasmaa, Alvar Aalto.

Choreography As Propositional/Relations/Generative Practice.

Choreography starts from any point, it cleaves an occasion activating its relational potential. It makes time, beginning its process anew, always from the middle of the event. Choreography is thus a proposition to the event. Choreography asks/inquires into the event, how its ecology might best generate and organize the force of movement-moving.

William Forsythe, Erin Manning.

Choreography, a self generating act proposed into a movement/potential motion/event of a milieu/gathering.

Making/generating/organizing as a proposition/task/technique to the material.

Developing in the incipiency of a choreography creative ecologies of the force of movement/making/movement. 

Tony Cragg/In and Out of Material.

Carlo Rovelli/Seven Brief Lessons On Physics.

Intertwining Thinking and Making.

Architecture and the Senses.

Juhani Pallasmaa/The Eyes Of The Skin.

Bayfield Hall.

Making and deploying theoretical objects/installations/workshops.

Exploratory Clay/Ceramic based inquiry.

Creative entanglements in a world of/with materials/others.

CLAY.

Ceramic Components/Composite Sculptures.

Templates/Painted Cardboard. 

Extruded/Sledged/Moulded. 

Julian Stair/Art, Death and the Afterlife.

Sainsbury Centre.

As proposition to the event, choreography does so not by abstracting itself from the event but always as part of the event, it can never be separated out from its coming-into-itself-as-event. 

Choreography/unfolding-as-event is the fielding of a multiplying ecology in a co;constitutive environment, it develops in the incipiency of the in-between, spurred on by tendencies that waver between  the rekindling of habit and the tweaking of a contrast that beckons the new. 

For an event to tune itself choreographically many techniques are necessary. Techniques can be generated as tasks, or they can be self generated. 

Chorepgraphy as a generative practice must ask, how the tasks become propositional, how the coalescing ecology becomes more than the enabling constraints that set it into motion.

Erin Manning.

On The Body of Drawing/Demarcations

Localized/Relational/Choreographic.

Transparency/Translucency/Erasure 

  

What Remains/Of The Other Sister

Dead on Arrival.

The life drawing separated from its corporeal event is now just a representation marooned in its media.

The Life Room, a space where an individuals mental reality meets cultural narratives.

Enchantment and Sites of Sensual Engagement : Periphery/Boundaries and their limits.

Outpost 140323

Wonders On The Periphery Of living.

https://www.flickr.com/photos/russellmoreton/

The Wonder Of Minor Experiences.

A Brief Phenomenology of Enchantment.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.

Jane Bennett.

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind  that it does not remind us of anything and we find ourselves delaying its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

The dialectical principle of the intertwining of the world and the self.

My body is made of the same flesh as the world, this flesh of my body is shared by the world and the flesh of the world or my own is a texture that returns to itself and confirms to itself.

The Intertwining-The Chiasm.

The Visible and the Invisible.

Merleau-Ponty.

The Concept Of Sculpting Invisible Materials.

Intervals/Sequences/Iterations : Between Drawings/Templates/Prototypes.

The Eyes Of The Skin.

Critics of Ocularcentrism.

Juhani Pallasmaa.

Merleau-Ponty speaks of the ontology of the flesh as the ultimate conclusion of his initial phenomenology of perception. This ontology implies that meaning is both within and without, subjective and objective, spiritual and material.

Richard Kearney.

Sculptural Spacings/Bindings.

Creativity, materials/matters of concern caught around the creative act of a self amongst others.

Temporal Interrelations.

Adaptive Bridging Strategies.

Playing with materials, to bring forth the synergies of thinking/making/imagination.

Working so as to form or 'seed' gaps amongst the process of exploration.

The display of agency, of un-learning perspectives, discontents, alterity and literal landscapes.

Sites of sensual engagement through alternative forms of individual and social participation.

Energies, entropic to living things.

Natures/Intellectual Spaces.

Indexical Traces/Flows of Energy.

Artists/Makers on the process of material transformation, mobility, thought, body, through an embodied/subjective/multisensory experience. 

Raveningham, allows the thinking of the existential qualities of natures materials in an intimacy/nowness with the natural world. An enmeshed world, working on natures terms, of movement, change, life, growth, and decay.

For Olafur Eliasson, the practice sets out to examine the way an embodied sense of a place can be restructured as a function/site of a sculptural spacing that questions ideas around embodiment, perception, architectural programming. 

The landscape without objects/without hylomorphic thinking.

Tim Ingold.

The Periphery. 

Frontiers and their Disappearance.

Borders and Limits.

Wim Nijenhuis.

Individuation, the process of 'becoming something' and the 'being there' of 'something.'

Modern information theory claims that both the clay and the mould are engaged with matter and form. The clay is in a metastable state that possesses potential energy, unevenly distributed, but capable of effecting a metamorphosis. This quality of the clay is the source of its form. The mould places a limit on the expanding form of the molecular organisation of the clay as it fills the mould. The mould does not form the clay passively, but communicates a resonating action throughout the clay that alters the clay's molecular organisation.

Paul Virilio, distinguishes two orders around the frontier, that of place, characterised by a stability of form, and that of speed, characterised by the fading of form.

Primarily the city is formed and informed by heterogeneous speeds, by the difference between inertia and traffic, the form of the city is thus finally an unstable effect. The city exists through traffic in all its forms.

Keywords : Vectorisation, Distinctive Oppositions, Hylomorphic Schema, Form-Matter-Model,  Place, Speed, Inertia, Traffic, 

New Figure/Grounds.

Geometric marks, vectors across a surface that might suggest some opaque system of musical notation, of points/notes connected forming a constellation of lines and angles. Workings on and between that are synonymous with the field/environ of the canvas, in such a way as it is no longer possible to speak of the classical figure ground relationship.

The Luminescence of Space.

Towards a more delimited spatial conception, a loss of centre.

Charles Maussion.

Rethinking, gestural, expressionistic, lyrical abstractions, atmospheric figuration. 

Keywords : Colour Field Painting, Lucio Fontana, Mark Rothko, Orhon Mubin, Spatial Conception, 

Slow Materials~Silent Transformations/Philosophy : Spaces beyond objects/The Movement~Sympathy of Ideas and Feelings.

 

Outpost 220921 

Loose Assemblages : The Movement of Ideas and Feelings.

The Sympathy of Things.

Lars Spuybroek.

‘If there is one thing we can learn from John Ruskin, it is that each age must find its own way to beauty’ writes Lars Spuybroek in The Sympathy of Things, his ground-breaking work which proposes a radical new aesthetics for the digital era. Spuybroek argues that we must ‘undo’ the twentieth century and learn to understand the aesthetic insights of the nineteenth-century art critic John Ruskin, from which he distils pointers for the contemporary age. Linking philosophy, design, and the digital, with art history, architecture, and craft, Spuybroek explores the romantic notion of ‘sympathy’, a core concept in Ruskin’s aesthetics, re-evaluating it as the driving force of the twenty-first century aesthetic experience. For Ruskin, beauty always comprises variation, imperfection and fragility, three concepts that wholly disappeared from our mindsets during the twentieth century, but which Spuybroek argues to be central to contemporary aesthetics and design. Revised throughout, and a new foreword by philosopher Brian Massumi, this is a new edition of a seminal work which has drawn praise from fields as diverse as digital architecture and speculative realism, and will continue to be influential as it wrests Ruskin’s ideas out of the Victorian era and reconstructs them for the modern age.

 Xenotheka

Bento's Sketchbook : John Berger

Existence appertains to the nature of substance.

A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.

Ethics, Part 1, Proposition VII, Proof

Conscious minds arise from establishing a relationship between organism and an object-to-be-known. 

The Feeling of What Happens, Body, Emotion and the Making of Consciousness

Antonio Damasio. 1999.

Architectural Body

Organism-Person-Environment

Arakawa and Gins.

The Silent Transformations.

François Jullien.

To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption&;just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern&;specifically Chinese&;ways of thinking about time and processes of change.

Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought&;s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.

In The Silent Transformations, Jullien resituates Western philosophy by examining it in the light of traditions of thought that have developed from fundamentally different concepts and contexts. Jullien here opens a space for a new way of thinking, and this refreshing book will stimulate the interest of scholars in both Western and Eastern philosophy.

Xenotheka

Drawing is a  form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

The Human Body through drawing and philosophy

Berger/Spinoza 141

Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.

The defining point of agency is namely its potential to transform the given.

Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square

Improvisations/choreographed with the music/ambient noise are exploratory encounters  between flesh and sound

A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise

Vibrant yet curiously passive form of  urbanism

Affectivity as a mimesis of lively transfers between things, humans and non-humans

Human subjectivity : Mimetic Encounters/Explorations

Art works by gathering up forms and materials for affective experimentations in subjectivity

Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another. 

Intentionality/Sympathy/Sentiment/Difference

Inducing a particular set of ethical/political/social responses in actor/social audience 

Mimesis : Paradox or Encounter. Jane Bennett

Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh

Francesca Woodman

Mimesis and suggestion in the social, enacted through layers of mediation surrounding humans, objects and non-humans.

Camouflage. Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming 

Wayfaring Places : Studio Compositions~Immersive Cells of Inquiry.

Undisciplined small spaces, places of refuge and solitude. A physical space, where an atmosphere quietly echoes spatial metaphors of enclosure, interiority and the sited and situated condition of making.

Studio Environments : Reconstructions and Fictions. Studio spaces for speculative making.

Wayfaring Landscapes~Affective Aesthetics of Difference.

https://www.curatorspace.com/artists/russellmoreton

 

 

Spatial Representations : Apparatus~Fictions~Readings~Embodying~Inhabiting~Folding

Reflexive Pavilion : Conversations through void~like subjectivities.

Structural Modalities/Making/Tensions : Spatial Formulations  to gather/interact with discursive research.

Processual Makings of The Everyday : Between Silences on The Sympathy Of Things

Clay~Ceramic~Theoretical~Things~Ties

Archaeologies of making material sensitive.

A processual object that both poses an agencement~question and carries its gathering.

Sociological Bindings~Matter(s) of Concern

Felt Abstractions~Inspirational Radicalism.

Urban Gothic : An Excess Of Changefulness.

Of the creation of concepts, explored through the plane of immanence in which it can be born and the 'conceptual personae' which can activate it.

On Other Forms Of Thought.

What Is Philosophy?

Deleuze and Guattari.

Can perhaps only be posed late in life with the arrival of old age and the time for speaking concretely.

It is a question posed in a moment of quiet restlessness at midnight when there is no longer anything to ask.

Their book is a profound and careful interrogation of what it might mean to be a 'friend of wisdom'. But it is also a devastating attack on the sterility of what has become. When the only events are exhibitions and the only concepts are products which can be sold.

Philosophy they insist is not contemplation, reflection or communication, but the creation of concepts.

Essays : Critical and Clinical.

Deleuze is concerned with the delirium, the process of life that lies behind this invention as well as the loss that occurs. The silence that follows when this delirium becomes a clinical state. 

Material~Felt Abstractions : Delirium and Dissolution.

Spatial Bodies : Between Silences on The Sympathy Of Things.

A Growing Thicket of Thing~Ties

White Odyssey~Archaeologies of making material sensitive.

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