Diffused Ecologies : A reflective building is an echo not a statement : SENSING AND SPATIAL PRACTICE

Anarchive Material~Readings

ON MAKING SPATIAL RESEARCH

Sensing Affective Spaces in Art and Architecture.

IMMATERIAL ARCHITECTURES FOR SENSING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAILS 2018/2020

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Russell Moreton, Speculative Spatial Practices 

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.

The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.

SENSING AND SPATIAL PRACTICE 

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.

CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE Making Place/Tools, cognitive enactments/materials and performativity/wellbeing Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold

A FIELD GUIDE TO GETTING LOST : Rebecca Solnit 

Experiential anthropology / Walking as 'being/becoming in place' 

Sensate, Sensing Sensuality, Otherness

WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics

Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention

PLACES that transform Chaos into Cosmos, Karsten Harries

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an 

 

ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surreealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION 

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/leaming.

SITE, the undoing of PLACE

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018

Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces, 

Brockwood Park School. Reimagining  Education 

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness. 

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

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)

Getting Lost, Walking whilst deep in thought/embodiment in the environment 

Working Towards a Secular Retreat in the Landscape

Between PLACE and SITE

Art Poverva, Materiality, Agency, Making, Nesting Building, NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt, The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls, Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.

TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe 

The Art of Sculpture

Moholy Nagy 

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis

Mediating/Architecting the experience of LANDSCAPE

Supportive Material/Texts/Cyanotype Drawings from found objects

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax 

 

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. (A Land, J Hawkes )

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness. 

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

COLOUR AS CONDUIT I PERCEPTUAL ENVIRONS / CRAFT MEDIA I IMPROVISATION

PIERCED I DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW I SURFACE

EXTRAORDINARY MATERIALS I TECTONICS AND TEXTILES INDEXICAL I GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard. 

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects. 

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL 

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning. 

SITE, the undoing of PLACE. (Casey)

BRICOLAGE I  HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society. Bought to Light

Photography and The Invisible 1840-1900 CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves. 

CONTEXT AND CONSIDERATIONS : MAKING, EXHIBIT, VIEW

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE

INVENTORY or DATABASE.

Anarchive Workings~Layered Making/Indexical Relationscapes : Interventions into models/stratifications of research

Interior Design MA~Anarchive

An anarchive is a creative process and philosophy that resists traditional, static archiving. Instead of just storing past traces, it acts as a "feed-forward mechanism" that uses archival material to continuously spark new art, sensations, and becoming.

Spatial Apparatuses, Building/Social Devices and Agendas/Rooms

Indexical Relationscapes.

Events as Interventions producing Intraventions from Sociology, Architecture and the Humanities/Contemporary Arts.

Relationscapes

Erin Manning

Movement/Art/Philosophy

 

For Brian.

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

Gilles Deleuze and Felix Guattari, A Thousand Plateaus.

Waverley Project : Areas of Project Research. 

The Reading Room (a library of subjective taxonomies on the alchemy of building)

The Listening Room (a soundscape interior in time with its environment)

The Sheltering Corridor (a modernist Stoa as a place for encounters/dialogues)

The Pot Room (a installation of thrown objects creating the interior partitions)

The Empty Studio (a adaptation of architecture through the ritual of creativity)

The Perception of The Environment, Livelihood, Dwelling and Skill. 

Tim Ingold.

Archaeology, Anthropology, Art and Architecture.

Anti-Object.

‘A building intervenes between subject and space.’ Kengo Kuma

Caruso St John : The Phenomenology of Construction  

Things.

‘As found is a small affair, it is about being careful, the as found (is) where the art is in the picking up, turning over and putting with. Things need to be ordinary and heroic at the same time.’ Alison and Peter Smithson

Public Intimacy in Social Spaces.

Architecture and The Contemporary Arts.

Learning through Making, (The Parallel of Life and Art) Anthropology, Archaeology, Art and Architecture.

Visitor’s Centre, with interpretive exhibition (Stonehenge/Denton Corker Marshall) or an immersive intervention (Winchester Cathedral,Anima-Animus/Elferova and Wilson).

A place where the interior space evokes a sense of place/a becoming (Existential, Historical, Social, Cultural) see ‘The Physical Self’ exhibition curated by Peter Greenaway. The Fate of Place/Human Sociology.

A contemplative space or spiritual/secular retreat featuring a series of interventions (Follies/Pavilions/Huts/Heidegger/Tschumi) that focuses the gaze on a particular view or detail, framing a distant reference (landmark or natural phenomenon, research into Lutyen’s ‘Thunder House’ for Gertrude Jekyll).

Museum of Wisdom. Kengo Kuma.

Noh Stage In The Forest. Kengo Kuma.

Hortus Conclusus. Peter Zumthor.

The Solar Pavilion. Alison and Peter Smithson.

The Secular Retreat, Living Architecture. Peter Zumthor.

Heidegger/Hut,

Bachelard/Poetics,

Ingold/Making.

Construct (Definition) DSC_0029
Ann Cline
A Hut of One's Own
Life Outside The Circle of Architecture.

Herzog  and De Meuron
NATURAL HISTORY

Walking and Mapping

Speculative Environments/Ecolects

Spatial Collage/Assemblage : Yellow/Lead/Photography

Fragments and layers from, Winchester Cathedral, Tidbury Ring Geodesic Dome, Star Atlas.  

Brian Clarke. Beauties (from the two Cultures) 1981.

Brian Clarke. The Office of The Dead 2008. 

It was the region, not the nation, which was the motor force of human development; the almost sensual reciprocity between men and women and their surroundings, was the seat of comprehensible liberty and the mainspring of cultural evolution.

Cities of Tomorrow, Peter Hall.1988

Anarchism, A very short introduction, Colin Ward.2004

Foucault, Sexuality and the 'Confessing Animal' 

https://sondermag.wordpress.com/2016/09/02/foucault-sexuality-the-confessing-animal-josh-mcloughlin/

My photographs are part of my way of thinking about and imagining spaces and light, of pondering and approaching an idea. In this case, the photographs generate a way of looking at a structure that exists only in order to provoke a sensorial and intellectual experience.

Cristina Iglesias : METONYMY 2013

https://literarydevices.net/metonymy/

https://www.simplypsychology.org/Zone-of-Proximal-Development.html

fig496 Proximity
10 Days at The Laundry : Winchester UK

Architectural Transposition : Anti-Object
Kengo Kuma's, Transparent and temporary shelter at Waverley Abbey

Possible Worlds
The Sensual Reciprocity of This Enchanted Isle

UCA MA Interior Design 2015

Overflowing Forces~in-acts of Sympathy with the Anarchic share of Existence.

Extreme Atmospheres : Fired Clay Labyrinths.

Interpenetrations~Visual Art Materialisms.

//russellmoreton.academia.edu

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. 

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