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.

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

Site~Emergent~Ecologies~Landscapes : Drawing translations within/between the photographic document.

Site~Making~Fieldworks.

Borderlands.

Alternative Photography.

Enchantments and Crossings : Somatic Effects~Enchantments

Topologies, mappings and their correspondences (thinking~feeling) between here, there, and elsewhere.

Playing with 'phronesis' a poetics of a spatial encounter and its enclosure forming an immediate immersive environment.

Developing inquiry through a process of familiarization and not-knowing, being undone by theory where things emerge, are accumulated, and are nurtured into being through relations (Continuous~weather-world sites) with human bodies and spatial bodies.  

Archiving materials, sites and events, resulting in an incidental aesthetic gathering.

Outpost Studio 030222

Immersed in Matter(s) of an Emergent and Continuous Weather World.

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape.

Walking into Emergent Landscapes : Covehithe Beach.

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.

To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Drawing is a philosophical trigger/Roni Horn : Creating modalities with their own experiential qualities

Brian Massumi refers to all arts as 'occurrent' because any and every perception, artefactual or natural is just an experiential event.

It is an event both in the sense that it is happening, and in the sense that when it happens something new transpires

Semblance and Event, Activist Philosophy and the Occurrent Arts.

Brian Massumi 2011.

Drawing is a philosophical trigger.

Roni Horn.

Creating modalities with their own experiential qualities.

Outpost Studio 14/03/2022

Occurrent Assemblages : Knowledge Objects

Choreographing

Events and Demolition

Trace and Encounter

Data Captured/Visualizations

Studio Workings : Outpost/Drawing/Architectural Body~Bioscleave

Outpost 041024

Sensing Peripheries/Gestures and Acts. 

Trace Drawing

Body Outline/Material Flows.

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

A sudden quantum like jump between a thing and its parts, between its different scales, its ontological gap. In a way a whole is really another specific, not a generalization about a specific thing, this means that there is a 'weird gap' between the whole and the parts, an ontological gap.

Timothy Morton.

Architecture in the Space of Flows, 2012.

Andrew Ballantyne, Chris Smith explain that everything can be understood as functioning in terms of flows – flow of various kinds and scales make up architecture and connect it with the world. Here, a volatile mode of thought begins to proliferate architecture as a whole, rather than developing the thought in relation to the body or space in isolation.

The Extracorporeal Space.

Architecture in Abjection.

A visceral assault, an affect that passes through the subject. 

An architecture that gets distilled down to experience and the chemical exchanges between body and space that begins to function within a similar realm to abject(ion).

The basic unit of study is body coupled with architectural surround. 

Arakawa and Gins.

You shouldn't force the memories. Just try to untangle them slowly.

I would suddenly have the feeling that a story was coming back to me and I would reach out instinctively to seize it. But there was nothing for me to hold. When I could no longer stand to stare at the blank page, I would type a, i, u, e, o, and then, imagining that I would now be able to write something, I would erase them again. But of course nothing came to me, and I would return to a, i, u, e, o. And the process would repeat itself. In the end, all that was left was a torn page, from the many times I'd erased what I'd written.

The Burning Library.

It may take a long time for every word to disappear, we held our breath as though fearful of disturbing this beautiful scene. 

The Memory Police.

Yoko Ogawa.

Ceramic Objects/Monumental vessels that explore contemporary society's relationship to death and ritual.

Abstractive figurative forms invite the viewer to meditate on the intimate relationship between the clay vessel and the human body.

Stair's exhibition explores humanity's reliance on art as a means to transcend the unknown.

Themes of Containment/Embodiment.

Julian Stair : Art, Death and the Afterlife.

Sainsbury Centre, 2023.

Developing explorations in which material culture and artistic practice can engender 'a new , expressive language to both mediate loss and celebrate life, Julian Stair'.

Francesca Woodman.

Gagosian, 2024.

Putri Tan: In those pictures the objects bisect the space and also consume it. Counter to that , as you said, is the body. I'm never wholly convinced of the idea that she is part of the architecture when she's holding on to a column or contorting her body to fit into the environment or to disappear into it.

Corey Keller: There's both a brutality and a monumentality about the bodies she depicts, you don't quite know whether they're trapped or liberated. I think what's interesting about the work is it's never quiet only about the space and it's never quite only about the body, but it's about the psychological spark (tension) that ignites when those things intersect.

Architectural Body

Arakawa and Gins.

The architectural body is a body that can and cannot be found. Boundaries for an architectural body can only be suggested, never determined.

A bioscleave is an event-fabric within which all exists only tentatively, within which all is perpetually shifting, and within which architectural bodies form and collapse, here distinctions between body and space, subject and object are diluted. This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another.

I found it terribly difficult to come to terms with the old man's death. I had lost many people who were important to me in the past, but somehow my parting with them had been different from what I experienced now.

But the laws of the island are not softened by death. Memories do not change the law. No matter how precious the person I may be losing, the disappearances that surround me will remain unchanged.. But this time I had the impression that something was different. In addition to the sadness, I was overcome by a mysterious and menacing anxiety, as though the old man's death had suddenly transformed the very ground under my feet into a soft, unreliable mass.

The materials of the world that surrounded R and me were simply too different-as though I were trying to glue a pebble I'd found in the garden to an origami figure. And the old man, who always reassured me at such moments, who promised we could find a different type of glue, was no longer here.

The Memory Police.

Yoko Ogawa.

Material/Semiotic Flows/Subjectivity : Towards Disentanglement

Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.

Franco "bifo" Berardi

And : Phenomenology of the End

Signs and Machines : Capitalism and The Production Of Subjectivity
Maurizio Lazzarato

Sketching out an aesthetic genealogy of capitalist globalization. Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information.

Living Places : The Intensity of Inhabitation/Grey Tones Chromatic or Achromatic.

Outpost 181024

https://axisweb.org/artist/russellmoreton

Philosophical Solitudes~Sensual Objects

Here the full meaning of the philosopher's solitude becomes apparent. For he cannot integrate into any milieu; he is not suited to any of them. Doubtless it is in democratic and liberal milieus that he finds the best living conditions, or rather the best conditions for survival.

Gilles Deleuze.

Life Of Spinoza.

Ann Cline.

A Hut of One's Own/Life outside the circle of Architecture.

How to cook a wolf.

Essay as Cookbook.

The pleasure of Sue's little house and her inspired oblivion to the ugliness of poverty, appeals not because of its strangeness, but because of its calm. The pleasure of her little house as with the 'bagatelles' around Paris lay in the intensity of its inhabitation.

At first when you entered it, the house seemed almost empty, but soon you realised that it was stuffed with a thousand relics. You ate by one candle, everything from one large Spode soup plate. I have never eaten such strange things as there in her dark smelly room, with the waves roaring at the foot of the cliff. The salads and stews she made from these little shy weeds (gathered from the cliffs and nearby field) were indeed peculiar, but she blended and cooked them so skilfully that they never lost their fresh salt crispness. She put them together with thought and gratitude, and never seemed to realize that her cuisine was one of intense romantic strangeness, to everyone but herself, moreover it was good.

M. F. K. Fisher.

Inherent Light.

The light that seems to glow from within a colour.

To attend to colour, then is in part, to attend to the limits of language. It is to try to imagine, often through the medium of language, what a world without language might be like.

David Batchelor.

Retinal Studies

Colour, David Hornung. 2005

Knowing Obscures Seeing.

Vision is influenced by our preconceptions about reality. In viewing a scene, we establish unconscious hierarchies that reflect our functional relationship to objects and our momentary priorities.

The camera, like the human eye, sees only shapes and colours. It documents the world impartially through a lens that is similar to the eye. The functional relationship we have with objects creates visual expectations that interfere with our ability to see 'like a camera.'

In retinal painting, one concentrates upon colour and shape while resisting the urge to name individual objects. When vision is directed in this manner, one actually experiences a different way of seeing. The result is a picture in which the subjects seem to be constructed purely out of colour shapes.

The Impressionists developed a way of painting that, at its most extreme, sought to replace drawing as the basis of pictorial composition with the objective transcription of colour shapes as observed in reality. Claude Monet (1840-1926) in particular attempted to build his pictures strictly out of his response to visual sensations. He proposed that the painter should record only the patterns and colours that  fall on the retina and ignore the 'identity' of the subject. This constituted a new kind of realism that reflected the physical nature of vision.

Bridge Tones.

Tones, tints, or shades that combine qualities of two distinctly different colours and act to soften those differences when placed near them in a composition.

Chromatic Darks.

Very dark chromatic greys that have discernible temperature.

Chromatic Greys.

Subtle colours that result from considerably lowering the saturation level of prismatic colours. Chromatic greys weakly exhibit the distinguishing quality of the hue family to which they belong. 

Median Transparency.

An illusion of transparency where the value of the colour at the overlap is halfway between that of the two parent colours. The hue of the overlapping area blends the hues of the two overlying colours equally.

Luminosity.

The amount of light reflected from the surface of a colour. Value is a measure of luminosity.

High Key.

What an image is said to be when the colours in it are predominantly light in value.

Middle Key.

What an image is said to be when the colours in it are predominantly medium in value.

Achromatic Greys.

Greys that are created by mixing black and white. Achromatic greys have no evident coloration when seen against a white background. Black and white are also achromatic.

Greyscale.

A graduated representation of the value continuum broken down into a finite number of steps, usually ten, eleven, or twelve achromatic greys.

Non proportional Colour Inventory.

A graphic rendering of specific colours observed in an object.

Proportional Colour Inventory.

A graphic representation of the exact colours and their proportions in a observed object.

Retinal Painting.

A term coined by Harriet Schorr in reference to painting from observation in a manner emphasizing the faithful transcription of coloured shapes as they appear on the retina of the eye. An outgrowth of Impressionism, this method favours accurate colour rendering over drawing to describe form. 

Shade.

The result of mixing a colour with black.

Tint.

The result of mixing a colour with white.

Tone.

Made by mixing grey (either chromatic or achromatic) with a colour. Tone can also have a more general meaning. The term is sometimes applied to all colours achieved by admixture including tints and shades.

Colour Unity.

The Altered Palette.

Unifying Strategies for Colour Mixing.

Any primary triad will have inherent limitations, but these are what give a palette its character.

Comparisons between the compositional study and the finished inventory clarify just how the inherent light in a design or painting is a projection of the palette from which it originates.

The colour overtones associated with specific pigments will limit possible saturation range. These limitations can be thought of as an expression of the character of illumination inherent in a colour. Just as a fluorescent light produces a characteristic quality of light that unifies what it illuminates,  any primary triad exerts a characteristic quality of inherent light through intermixing. 

An almost fool proof way to achieve family resemblance among a group of colours is to generate them from a limited source. Intermixing any primary triad (plus white) can produce a wide range of tones that share a common light quality.

A triadic dot study, teaches a mode of examination that, in a few steps summarizes the tonal range of a selected palette. The follow-up applies the colours of the study to a composition and puts the palette into action.

Earth Tone Primary Triad.

A primary triad of chromatic greys (so called because of their resemblance to pigments found in nature, e.g., ochres and umbers).

Low Key.

What an image is said to be when the colours in it are predominantly dark in value. 

Ceramic Oxides/Body Stains.

Chromatic greys from earth tones producing weak muted colours.