Correspondences~Relational Fields : Other Affordances : Analogous Experience~Clay~Thinking

Clay~Making : The Analogous Atmosphere of  Experience.

Clay+Ceramic : Immersed in a self entertaining relational field.

Clay Based Practices : Ecologies~Things Emerging in Relation.

Asking how making is a thinking in its own right, what else that thinking can do?

Erin Manning. 

Poetics of Spatial~Small Gestures

For Bachelard : Reverberations~Conduits between philosophy~poetic writing relations of human and spatial bodies.

The artwork featured in the image is titled "Apparatuses: A Litany of Echoes~Resonances" by the visual artist Russell Moreton. 

Artist's Practice: Russell Moreton is a visual fine artist who explores themes surrounding "making," architectural space, and the interplay of materials like clay to demarcate and construct environments.

Materiality: His work frequently investigates the imprint of the artist and the metaphysical, immersive nature of his chosen media, often utilizing processes that evoke construction and the physical manipulation of materials.

Architectural Inspiration: Moreton is notably drawn to the solitudes of libraries and the sounds of construction, often using his practice to engage with the concept of architecture as tranquility.

The Poetics of Space : The house, from cellar to garret. The significance of the hut.

"He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar."

Gaston Bachelard.

 

"All religions, nearly all philosophies, and even a part of science testify to the unwearying heroic effort of mankind desperately denying its contingency."

Jacques Monod,

The Human/Straw Dogs, John Gray.

AI Overview

This artwork is a sculptural assemblage by Russell Moreton, featuring ceramic vessels and forms. 

The work explores themes of reverberation, innerness, and volume through a processual approach to clay. 

Moreton's practice investigates the interconnection of making interior spaces, demarcating and folding material into spatial forms. 

These pieces are described as 'extreme atmospheres' or 'fired clay labyrinths,' utilizing textural surfaces and industrial-like perforations

Aesthetics of the Everyday : A Creative Human Praxis

Working Praxis into Creative Research
Clay, Paint, Matter/Everyday Landscapes

The Subject Matter of Lived Experience

The Potter's wheel creates cognitive enactments (materiality) through encountering clay.

The Heideggerian Roots of Everyday Aesthetics
A Hermeneutical Approach to Art
Cristian Hainic

The mere aesthetic experience of understanding one's being-in-the-world as made up by everyday phenomena, is in itself overwhelmingly sufficient to constitute a foundation for an aesthetic of everyday life. 

Textuality/Interpretations (Texts and their inherent lack of perceptual immediacy)

Everything in language belongs to the process of understanding

Human understanding/interpretation takes place not in the immediacy of representational thinking but rather in the lack of  objects and experiences available for direct confrontation. 

John Dewey
Live Creature, an aesthetic experience comes to be defined as active and alert commerce with the world. Life does not merely go on in an environment, but rather because of an environment and because we interact with it. 

Up, Across and Along
Tim Ingold

J.M.W. Turner (1775-1853)
Dunwich, Suffolk,c. 1830


THE ART OF SURVIVAL
Jacqueline Rose's catalogue essay on Therese Oulton

How to paint the earth lovingly but without false solace,a world in which love might be impotent?

But then, at the very moment you have ceded such intimacy, she manages to give you the sensation of a world hurtling to the point when there might no longer be anything, or anyone there.

The Art of Jeremy Gardiner
UNFOLDING LANDSCAPE

LANDSCAPE, MEMORY, AND PLACE
Robert Ayers

Often for these painters the experience that they concern themselves with most directly, is that of nature, which in its vast and enormously inflected range can act as a metaphor for lived experience.

They are concerned more with how nature feels than how landscape looks. They share too an awareness that it is the translation of that feeling into paint mark, the achievement of an equivalence, that is of crucial importance. It is in the consummation of paint and experience that picture-making finds experience.

Paint marks flicker as we look at them between substance and illusion.

CONTESTED SPACE
Urban/Social/Landscapes

Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.
An Anthropology of Landscape

Christopher Tilley, Kate Cameron-Daum

ORDINARY LIVES
Studies in the Everyday
Ben Highmore

Lukács’s Literary Cartography:
Spatiality, Cognitive Mapping, and The Theory of the Novel
Robert T. Tally Jr.






https://www.flickr.com/photos/russellmoreton/26224308391

Photography : Thinking with Imaginary Spaces

DSC_0171 Spatial Assemblage : Figure in Space

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

Robert Spira : Towards The Bowl/Sacred

https://www.stillnessspeaks.com/images/uploaded/file/Transparency%20of

Working Spaces : Force Fields, sign and trace

Contents List from a folder in the Theatre of Research

 Unlike a Library the Theatre of Research is a working space that creates and crafts both theoretical and practical objects, things and documentation. Its reason for being is to explore the praxis for creative narratives between the Arts and The Humanities.

Chora Body and Building

Space as Membrane

Chora (Exhibition) 1999

Lessons of a dream. Karsten Harries

Concrete Blonde: Joanna Merwood

A probe into the negative spaces where mysteries are created.

Surrealist Paris : Dagmar Motycka Watson

The non-perspectival space of the lived city

Body and Building : George Dodds

Essays on the changing relation of body and architecture.

Sphere and Cross : Karsten Harries

Vitruvian refections on the Pantheon Type

Body and Building : Marcia f. Feuerstein

Inside the Bauhaus’s Darker Side

Desiring Landscapes/Landscapes of Desire. George Dodds

A Tradition of Architectural Figures: Marco Frascari

Interwining Metamorphoses : Germano Celant

On the work of Guiseppe Penone

Space as a Membrane : Siegried Ebeling

Sensorium : Embodied Experience, Technology, and Contemporary Art.

https://citythroughthebody.files.wordpress.com/2013/08/sensorium.pdf

The Cathedral~Weathered Experience/Sympathy : Human Occupation/Liminal Rites of Passage.

Weathering Experience with Fired Clay : A Lined Surface~Making Feelings

The Cathedral: Human Occupation/Liminal Rites of Passage.

"Memory records an insignificant minuscule particle of the past."

IGNORANCE. Milan Kundera 2002.

Coiling Over.

Tim Ingold.

How things can offer themselves to one another on the inside. How they can join 'with' rather than join 'up' in sympathy rather than articulation.

Its surface is textured, like a veil, by dint of its long endurance of the atmospheric elements. That is its weathering, a lined surface that greets the digits of the archaeologists hands, and joins them in the movement of (making) feeling.