Extreme Atmospheres : Fired Clay Labyrinths.
Interpenetrations~Visual Art Materialisms.
.jpg)
.jpg)
Clay~Anarchive Matter(s) : Transitive Forces of a Minor Key.
Research-Creation as Spatial Practice.
Clay Bodies~Baffles : Atmospheres and the Continual Weather World.
On a making that is a speculative pragmatism reaching out into the more-than anarchic share of existence, creating the conditions for living better. Moreton/Whitehead/Manning/Ingold.
Making Processual Architectures.
Clay+Ceramic+Anarchive : Minor Gestures~Interstitial space of emergent expression
An anarchive is a dynamic, creative, and "feed-forward" process that acts as a repository of traces rather than a static, traditional archive. Coined by philosophers Brian Massumi and Erin Manning, it functions as a "living" collection that encourages new, generative creations and potential rather than merely documenting the past.
Key Characteristics of an Anarchive
Active Process: Unlike an archive, which preserves and fixes, the anarchive is in constant flux and continues to evolve, focusing on potential rather than just the past.
"Feed-Forward" Mechanism: It is a "springboard" or "curating score" that triggers future artistic, social, or research-based work, rather than just acting as a reference to a past event.
Traces vs. Documents: Anarchives collect "traces" or fragments of events, which are seen as "carriers of potential" for further, often unpredictable, development.
Subversive Nature: It acts against the rigid, linear, and "destructive tendencies" of traditional archiving.
Collaborative & Experimental: It often involves the co-creation of knowledge, often in the form of multimedia projects, such as the anarchive.net project.
The term is often used in arts-based research, such as the "Walking Anarchive" project, to describe how researchers can work with memories, experiences, and artistic materials in a non-linear way.
