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,

Composite Bodies in Spaces : Drawing into the contemporary sociological imagination

Drawing into the contemporary sociological imagination

Intermezzo : Nomadic Photographic Assemblage

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

www.rhizomes.net/issue5/poke/glossary.html

The Uberficiation of the University
BY MARK CARRIGAN ON NOVEMBER 22, 2016• ( 0 )
sociologicalimagination.org/archives/18986

The Sharing Economy
Platform Capitalism
Uber.edu
The Reputation Economy
The Microentrepreneur of the Self
The Para-academic
The Artrepreneur
Affirmative Disruption

A fascinating short book by Gary Hall, available open access at the Coventry University repository:
curve.coventry.ac.uk/open/file/4b7671d5-371f-438b-83c7-92...

img20161120_17325939 Photographic Forms

Drawing figure/ground, documentation of work in progress.

Life "drawing" trace on paper with water and field chalk. Work submitted to Interfaith Group Show at the Link Gallery, Winchester 2010.

"This particular event invokes for me the notion of simple material relations and collaborative gestures that underpin human agency.
Art space/practice can promote these working intimations that enter into the realm of beliefs."        

Artist's Statement (archive)  07.12.2009.

Camera Obscura : Kilquhanity 2011. #4
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive"

Sequential Photograph : In the space around the "spatial turn" (539)
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

pictify.com/user/russellmoreton

PB144997a : Mapping.

Bento's Sketchbook : John Berger

The human  body  {corpus humanum) is composed  of many individuals (of different nature),  each  one of which  is highly composite.

The  individuals  of  which  the  human  body  is  composed  are some fluid, some soft and some hard.

The individuals composing  the human  body,  and  conse­quently  the human  body  itself is affected  in  many  ways by external bodies.

The human body needs for its preservation many other bodies from which it is, so to speak, continually regenerated.

When a fluid part of the human body is so determined by an external body that it impinges frequently on another part which is soft, it changes its surface and as it were imprints on it the traces of the external impelling body.

The  human  body  can  move  external  bodies  in  many  ways, and dispose them in many ways.

The human mind is apt for perceiving many things, and more so according as its body can be disposed in more ways.

{Ethics, Part II, Postulates I-VI, Proposition XIV)

Slow Philosophy : Diffractive Over Layering/Accretions Of Making.

Diffractive Readings/Visual Material and Resources.

Over Layering/Accretions : Asperity~Inhabitation~Urbanism

Of interiors, constructions and abject deconstructions into and around the ruinous. White (bleached) and soot fumed stains, textures, patinas of process and time, usage and possible shelter. Urban vessels poetically conveying a visual, tactile complexity, that of built and lived in spaces.

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

Orange School Graph Books 

Harleston 2020-2021

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

Silent Interiors : Anthropocene Aesthetics : Ceramics and Environmental Engagement.

Ceramics and  Architecture : Making Things, Perception/Thought/Action

Urbanism : Fossil Futures~Anthropocene

Ceramics Following Resonances : Interiors in fired clay.

Ruins · Jozef van Wissem · Zola Jesus

When Shall This Bright Day Begin

℗ 2016 Jozef van Wissem and Zola Jesus

Released on: 2016-02-05

Mixer: Jozef van Wissem

Producer: Jozef van Wissem

Composer: Jozef van Wissem

Music  Publisher: Wissem Music

Lyricist: Zola Jesus

https://www.youtube.com/watch?v=UR-Kx7ehxCQ&t=21s

Architecting and its ecologies/matters of concern.

The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.

Apparatuses and their ecologies for learning.

The choreographic object/agent.

The role of the body is scored through a shifting agency and the power of techniques of things.

Theorial objects of things which do theory without us imposing it, on them.

Oren Lieberman. 2013.

The Production of The Unexpected.

The Joy of Speculative Play.

Perception/Thought/Action

A caring curiosity that wants to know and understand and explore relations.

Projective Speculations.

Ecologies/Locations.

Questioning/Research.

Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.

Landscapes Of Actions.

Modalities Of Intravention

Constitutive Qualities Of Dance.

Ephemerality

Corporeality

Precariousness

Scoring

Performativity

If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.

Lepecki. 1996.

Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.

The Archive.

Matters of Concern.

Terms of Engagement.

Interrogate with descriptors and new issues of practice.

Bringing Things to Life.

Starting conditions for responsible and curiosity driven engagements with the world.

Place-Refreshed.

New-Agencies

The Interconnectedness of Places.

For Ingold, congealed places become relationships/connections for lines of occupation.

Curriculum making/experience as the enactment of dwelling in places.

Landscape Constructions/Observatory/Garden.

Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.

Ceramics and  Architecture

Marking The Line.

In response to Sir John Soane.

Joanna Bird. 2013

Arranging the physical space/circulation to receive forms/intraventions.

Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.

Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.

Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.

Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance. Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.

Joanna Bird Pottery

Director of the Joanna Bird Foundation. London.

Ceramic Forms and Paintings.

Materials/Substances on a drawn and constructed surface.

Drawings, wax and yellow ochre on layered canvas and paper.

Water : A Phenomenal Lens.

The transformative properties of the substance.

The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.

An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.

Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.

 

Refraction/Reflection/Spatial Reversal Phenomena.

Time : Duration and Perception.

Duration as a multiplicity of secession, fusion, and organisation.

Henri Bergson.

One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.

Thus when I measure time, I measure impressions, modifications of consciousness.

Saint Augustin.

Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.

The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..

Steven Holl.

Outpost 100223

Hungate, Norwich. 

Anglian Potters

Undercroft, Norwich. 2023

Helgate Proposal

Exploratory Ceramic Practice.

Clay Making. 

Plaster Work.

Commissioning of Gas Kiln for large scale works.

Glass Tech Kiln.

Artists Book, "Leylines" an art based inquiry.

Artists Book, "Leylines" an art based inquiry., a photo by Russell Moreton on Flickr.

Artist’s Book: white and coloured pages, card covers with cyanotype of Winchester Cathedral.

A hand bound book comprising of five signatures each with four folios. This book contains a collection of postcards made from contact prints and photograms from Tidbury Ring using the cyanotype process. Other pages contain some cyanotype paintings/abstracts around the theme of dwelling and hut. Silver gelatin images of St Catherine’s Hill are present as are some experimental pinhole photography.     

Writing has nothing to do with signifying, it has to do with surveying, mapping, even realms that are yet to come.

Deleuze, Guattari. 1988.

Pure Presence~Clay Stories : Ethics/Aesthetics/Politics, Jane Bennett

Anarchives/Clay Stories : Lines of Flight/Dovecotes for Philosophers.

Discursive Documents : Enchantment/Somatic Affects, Jane Bennett.

Visual Art Materialisms : Spatial Bodies~Human Bodies

Space folds : Containing "Spatialities around historicality and sociality"

Text Extract/Inclusion. "Pure Presence"

The enchantment of modern life: attachments, crossings, and ethics : Jane Bennett 2001.

It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics.

2013

Photography/A Fragmentary Whole : The Temporal Flow of Things

Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,

"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity
is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin
with the same concept,
they do not have the same concept of beginning...
Every concept has an irregular
contour defined by the sum of its components,
which is why,
from Plato to Bergson,
we find
the idea of the concept being a
matter of articulation,
of cutting and
cross-cutting.
The concept is a whole because it totalizes
its components, but it is
a fragmentary whole.
Only on this condition can it escape the
mental chaos
constantly threatening it, stalking it, trying to reabsorb it."


-- Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.

“Philosophy is really homesickness,” says Novalis: “it is the urge to be at home everywhere.”

Literary cartography is not a literal form of mapmaking, after all; rather, it involves the ways and means by which a given work of literature functions as a figurative map, serving as an orientating or sense-making form.

Lukács’s Literary Cartography:

Spatiality, Cognitive Mapping, and The Theory of the Novel

Robert T. Tally Jr.

Path : Circular, Stonehenge

Transparency,time and matter #2

Camera Obscura : Kilquhanity 2011. #4

Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".

Blue Spaces : White Absences #2
https://visualartpractices.wordpress.com/

Walking into Emergent Landscapes : Covehithe Beach
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

London/Millennium Bridge : Architectural Abstracts/Drawing Traces

Huts/Follies/Pavilions : Experimental Lives/Reworking Subjectivity.

Outpost 241024

It seems that the significance of an aesthetic event is in its future.

Timothy Morton, Realist Magic : Objects, Ontology, Causality.

Reworking Subjectivity.

Actualizing Traces.

Vectors/Inscriptions and Field Conditions.

Theory and Things.

The Intuitive Practices of the Untutored Maker.

Experimental Lives.

On Simple Huts.

On Exercising Experience.

Huts, as Folly or Pavilion, serving a deeper impulse of curiosity, pleasure, experimentation, discipline. While the primitive hut belongs equally to 'what architecture is' and to 'what architecture is not' ironically its greatest significance may derive from the many non architectural ideas it engages.

Anne Cline.

Giving way to the nature of materials, new sensitivity, new subjectivity.

Ceramic objects of open intervals, intersections, inner places, and places in-between. 

These primal images give us back houses in which the human beings certainty of being is concentrated, and we have the impression that in images that are as stabilizing as these are, we could start a new life. A life that would be our own that would belong to us, in our very depths.

Gaston Bachelard, The Poetics of Space.

Ann Cline.

It would seem then that the search for the primitive hut begins in play. A deconstructing process in which children seem to examine what is given them, intent upon taking it apart. While Rykwert's primitive is founded in the expression of origins, collectively imagined and believed. Bachelard's primitive is founded in the expressions of youth, not as vulgar nostalgia (as he emphatically warns) but in images as we should have imagined them during the 'original impulse' of youth.

In other times of cultural transition, the primitive hut, as invention or as a construct of experience, has brought humans to the edge of their normative existence and from there allowed perspective and experimentation.

The more 'primitive' the hut the more its creators recognized the arbitrariness of their own culture.

Within the inhabited hut, cultural issues and practices readily converge with an agility larger structures can never match. Huts bring together the physical environment with such disparate aspects of culture as necessity, fantasy, faith, and lifestyle. The hut, then, may be humankind's supreme experiment.

Divertissements and spectacles cover over the most basic human aspiration, to know what it is to have a human life.

Earth-House-Hold.

Gary Snyder. 1969

AM1.

Architecture, Art, Design, Fashion, History, Photography.

The Production of Space.

The Poetics of Space.

A Species of Spaces.

Space is not 'a priori' but rather a matter of relations between objects (things/phenomena).

Gottfried Wilhelm Leibniz.

Spatial Practices/Making Agency.

Circulation Diagram/Body/Space/Living/Activities/Production.

Movements/Interactions/Spaces/Volumes.

Tentative/Procedural Architecture (existential experiencing of built spaces).

Arakawa and Gins.

Body/Bodies as vector of movements/interactions/overlapping/navigating through interlocking/disparate spatial volumes.

Making and Meaning.

Andrew Higgott.

Peter Salter: Building Projects.

Architectural Association School.

Work created in design units such as that of Mike Gold, starting with the human figure as generator, or of Peter Wilson, prioritized sensibility over articulated theory, the evocative over the concrete: but the approach came to be evident in many student projects beyond these units. Much of this work was concerned with creating new forms of an architecture of meaning, and generating this meaning through a variety of intuitive devices.

As Peter Salter's own work developed, his interest in structural ingenuity gave way to a new sensitivity and subjectivity. A sensitivity to site and to the nature of materials, subjectivity in terms of making the personal and particular response. Seeing precedent in the practice of the Smithsons and other recent architects, but also in the practice of the untutored maker of things.

Grounding his work in the realization of the transformation of materials from natural form to the making of space: actualizing traces of context and echoes of history in its making. Rather than the more obvious and simple course of collaging fragments of pre-existing forms, it understands such devices and has an intuitive resonance of them. 

Architecture in Abjection.

What Greg Lynn in the 1990s is laying out here, following Deleuze and Guattari, is a relational understanding of the world, as opposed to an understanding based on things. For Deleuze and Guattari, relations occur not only between things but within the things themselves, such that the world is a vibrating field of potential, never in a moment of stasis or being but always changing. It is therefore very much about the in-between, and it is this in-between, this field of relations, that is a multiplicity.

Although Lynn's reference to and adoption of philosophical concepts has no doubt been productive not only for his own practice but for the architectural discipline as a whole, the simplification of that philosophy serves to overlook many further-reaching implications, such as the reworking of subjectivity.

Simplification of borrowed thought is thus one key criticism in this respect. The other, which applies not only to Lynn but also to architects engaging with the concept of emergence, rests in the application of that thought as an organisational and form-generating strategy.

Influenced by the emergent behaviours within networks, swarms, flocks and so on, the key thing to point out with the uptake of a processional or relational mode of thought within architecture is the shift in emphasis from the end product – the building – to the process through which the  building is conceived – the design process. The important aspect is how a form is generated, and how its parts interact and are organised, rather than the form itself.

Flows of various kinds and scales, make up architecture and connect it with the world.

Event (Deleuze/Guattari) as defined by Movement in terms of vectors and field relations, of Time or the idea that all things change, and Scale an awareness and importance of the similarities in relations across any number of scales become pertinent.

Arakawa and Gins explore a house with a client that at appears at first to be a pile of material. But that upon occupation, it expands into a habitable series of rooms whose volume shifts in relation to the movement of bodies within them.