Anachronistic Grisaille/Space and Architecture : Cyanotype/Diaphanous And Indexical Negatives

Research as a discursive activity gathering new forms of expression.

Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one's being is provisional; it is a circumstance with an adopted aim for the time being.

SPACE-and ARCHITECTURE-exceeds the provisional

Concrete/Abstract Painting : Areas of Grisaille. Outpost Studios, Norwich.

We are not in the presence of a passively representative image, but a vector of subjectivation.

Guattari, 1995 :25

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Blue Spaces Of Everyday Enchantments : White Absences #2. Silence/Void : Gap/Reveal

The Enchantment of Modern Life.

Attachments, Crossing and Ethics

The performativity of social representations

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Tracing Light : Petworth House, West Sussex 2000
David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci
For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun in the system of perception'.

Mutations Of Light
Petworth Window, 6 July 1999

Light's Windows And Rooms
Passing towards the Invisible.
The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent  theme in William Henry Fox Talbot's early speculations.

BROUGHT TO LIGHT
PHOTOGRAPHY AND THE INVISIBLE 1840-1900

Sight Unseen
Picturing The Universe
Corey Keller
Invisible objects, penciled by nature's own hand.
In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself'.

The Social
Photographic Eye
Jennifer Tucker
Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.
An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.

Invisible Worlds
Visible Media
Tom Gunning
William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer
On Vision And Modernity In The Nineteenth Century
Jonathan Crary

The Camera Obscura and its Subject
Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world.

UNDER THE SUN
By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light
David Alan Mellor

Other Worlds : Insistent moments of mark making/subjectivity

Outpost 260622

CYANOTYPE SUN MAPPINGS/DRAWINGS

Jonathan Crary, Techniques of the Observer.

Adam Nicolson, Sea Room.

Rebecca Solnit, Wanderlust. A history of Walking.

Site/Regional Specificity/Local Memory. 

SKIN, SURFACE, SUBJECTIVITY.

Insistent moments of alienated encounter.

Harriet Katherine Riches.

MATTER AND MUTABILITY

PRERSENCE AND AFFECT

Jane Grant.

AFFECTIVE ABSTRACTIONS

INTERMEDIARIES

CONSTITUENT PARTS

SPILL

IMMINENT REVELATION

EXPOSURE

NAMING THE LIGHTS

AFTERWORD

Garry Fabien Miller, Ian Warrell, Richard Ingleby.

The solitary artist literally at the edge of his environment and in a state of profound meditation about our place in the wider cosmos.

As if seeing herself from the desolate distance of a star, Woodman looks back through the alienating photographic lens of displacement and memory, her print the surface upon which she conjures an impossible moment of beautiful fusion.

Those still involved in defining photography as an art are always trying to hold some line. But it is impossible to hold the line: any attempt to restrict photography to certain subjects or certain techniques, however fruitful these have proved to be, is bound to be challenged and to collapse.

For it is in the very nature of photography that it be a promiscuous form of seeing, and in talented hands, an infallible medium of creation.

ON PHOTOGRAPHY.

Susan Sontag.

SPAB.

Building Conservation/Casework Campaigning/Innovative Research/Immersive Training Programmes/Working Parties.

Climate Action/Built Heritage.

Jacqui Donnelly, Spring 2022.

Traditional buildings are defined as those built with solid masonry walls, single-glazed timber or metal framed windows and timber-framed roofs usually clad with slate or tiles.

One of the most effective ways of increasing the resilience of our historical structures and sites is the application of good conservation practices.

Traditional  materials and construction techniques allow for the natural transfer of heat and moisture and relied on the thickness of the walls to cope with atmospheric moisture. It is therefore essential that all materials and finishes, including mortars, renders and plasters, used on traditional walls are vapour-permeable to allow this movement of moisture to continue.

Proactive Maintenance

Repair Programmes 

Upgrading through repair and adaptation.

Mitigation

Courses in traditional rural trades and crafts, Weald and Downland Open Museum.

The SPAB has made sure that the project not only repairs the mill but integrates public access and education into the process.

The scaffold design has allowed public access visits for the local community and students, offering opportunity to view the work while underway.

Douglas fir weatherboards

Vmzinc roof covering

Insulating Render, Cornerstone.

Developing a scheme that endeavours to fit a three-bedroom house into the existing footprint of the mud cottage and adjacent outbuilding,with some overspill into a new circulation space that connects the structures whilst clearly retaining the legibility of the existing modest forms.

INHABITATION, the inter-dependence of mankind within socio economic frameworks. 

Vernacular Concerns/Folklore/Heritage and Fabric of Buildings.

TONALITIES

BUILDING MATERIALS

THE POETICS OF SPACE

Gaston Bachelard.

Italo Calvino, Mr Palomar.

The numbers 1, 2, 3 that mark the titles of the index, whether they are in the first, second, or third position, besides having a purely ordinal value, correspond also to three thematic areas, three kinds of experience and enquiry that, in varying proportions, are present in every part of the book.

Those marked 1 generally correspond to a visual experience, whose object is always some natural form; the text belongs to a descriptive category.

Those marked 2 contain anthropological elements, or cultural in the broad sense; and the experience involves, besides visual data, also language, meaning, symbols. The text tends to take the form of a story.

Those marked 3 involve more speculative experience, concerning the cosmos, time, infinity, the relationship between the self and the world, the dimensions of the mind. From the confines of description and narrative we move into the area of meditation.

The Trace and its Connector/Ceramics, drawing and walking/wayfaring with things.

 Outpost 040523

Raveningham Sculpture Trail 2023

50.

Russell Moreton - Interested in revisiting an earlier project that I created at Kilquhanity (A Pathway Between Sunrise and Sunset), in which I mapped movements of the sun onto the landscape through demarcated pathways and intersections to create site based drawings for cyanotype prints.

Anecdote of the Jar

 I placed a jar in Tennessee,

 And round it was, upon a hill.

 It made the slovenly wilderness

 Surround that hill.

 The wilderness rose up to it,

 And sprawled around, no longer wild.

 The jar was round upon the ground

 And tall and of a port in air.

 It took dominion everywhere.

 The jar was gray and bare.

 It did not give of bird or bush,

 Like nothing else in Tennessee.

Wallace Stevens

Making Visible.

Walking The Drawing.

The co-existence of overlaying fragments of construction, by selective excavation and creative demolition.

Castelvecchio an attitude to history. Carlo Scarpa.

There is no stage at which humankind does not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space.

Lefebrve.

Kairos : The movement and its moment

Being Alive.

Up, Across and Along.

The trace and the connector.

Tim Ingold.

Jannis Kounellis.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through which without colliding would produce the establishment of places and localities made special for one reason or another.  

Hand Built, Slab Ceramics.

Oxide washes, incised lines and piercings undertaken to the raw clay forms.

Architectural Facades/Camera Obscura. 

Darkroom's Erasure.

One day , we will understand that darkrooms were one of the last pools of darkness, where a pure form of thought was made visible. In the darkness at its heart, photography enabled us to see ourselves and the world more clearly, it was a place of truth and visions.

Dark Room, Garry Fabian Miller.

“The Pot, ancient as it is, is the first instance of pure innerness, of something made from the inside out.”

Adam Gopnik 2014

Richard Batterham

In 1981 he provided a rare statement: “The main work is not to make pots, but to allow them to come, to allow them to grow, to allow them to be alive, and to communicate warmth and life in that uncannily direct and undemanding way that true and naked work can, vulnerable as it is. To make this possible, I feel that it is necessary to use our skills and materials with humility and respect. This requires a certain quietness of living.”

A Vessel Defines Emptiness As Presence : Craft, Studio Practice /Theory and Analysis on Hans Coper, Edmund De Waal, Martin Heidegger

STUDIO PRACTICE, THEORY AND ANALYSIS.

MA SCHOOL OF CRAFTS AND DESIGN.

Working Notes : Brockwood Granary 2014

Theory and Analysis Documents, UCA Farnham

“A predynastic Egyptian pot, roughly egg-shaped, the size of my hand : made thousands of years ago it has survived in more than one sense. A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous. It conveys no comment, no self-expression, but seems to contain and reflect its maker and the human world it inhabits, to contribute its minute quantum of energy.”

Hans Coper, 1969

Jean Vacher acknowledges Hans Coper’s links with Modernism and that his pots possess an “innerness” that might be profoundly biographical in nature stemming from “the profound displacements that occurred to him and his family as a result of the upheavals in Europe.” (Personal e-mail correspondence CSC 28 March 2014)

Garry Fabian Miller, The Light Gatherers: Beyond the Middle Place

Seeing Dark Things : Chemical Photography/Images from the darkroom.

 Concept of a 'Filtow'

A filtered radiance emanating from a vessel not an object interrupting a beam of light.

Seeing Dark Things.

Roy Sorensen.

The thing contained is not the thing contained.

The spherical intersection space was also crafted in curved thin wood layers.

Steven Holl.

The Representation of Deep Time.

The Mutability of Colour Relationships.

Unleashed Colour World.

Manifestations of Unhindered Radiance.

Albers, yellow square.

Monrian, square of yellow in its field of white. 

For both Mondrian and Winifred Nicholson, colour concentrates light and transforms the world.

Flowers were sparks of light.

I used flowers as chalices of light to make my own pictures.

My Cibachrome darkroom has been as much a domestic space as the Alber's basement and Winifred Nicholson's farmhouse kitchen. They are places where ideas about the emotional range of a yellow square can exist as naturally as reflections and shadows cast by the sun and moon.

In this new colour world of mine, the circle became nature, and the square became thought.

 

The circle and square together embody what I think of as human nature.

Dark Room, Garry Fabian Miller.

Generating an Aura.

Fusing and Pulsating Pigment.

Pinhole Photography 

Photo Tin/Medium.

Cromer.

Raveningham.

Site Cyanotypes/Drawings/Intermediaries

Spatial Collages Reconfigured  

The Darkroom's Erasure, a second lecture by Garry Fabian Miller

The Light Gatherers, a lecture by Garry Fabian Miller

Diffractive Title/Things : The thing contained is not the thing contained.

 Outpost 240423

The thing contained is not the thing contained.

Manifesto for explorations of 'IN'

Steven Holl.

You Are The Weather.

Roni Horn.

Rich Lyrical Motifs.

Brilliant Trees.

Within each lesson lies the price to learn.

David Sylvian. 

Alternative Photography/Filtered Radiance

Documents from research archive

Seeing Dark Things

Roy Sorensen. 2008

Tracing Light : Petworth House, West Sussex 2000

David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci

For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun inthe system of perception'.

Mutations Of Light

Petworth Window, 6 July 1999

Light's Windows And Rooms

Passing towards the Invisible.

The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent  theme in William Henry Fox Talbot's early speculations.

CATCHING THE LIGHT

The entangled history of light and mind

Arthur Zajonc

BROUGHT TO LIGHT

PHOTOGRAPHY AND THE INVISIBLE 1840-1900

Sight Unseen

Picturing The Universe

Corey Keller

Invisible objects, penciled by nature's own hand.

In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself'.

The Social

Photographic Eye

Jennifer Tucker

Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.

An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand. 

Invisible Worlds

Visible Media

Tom Gunning

William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer

On Vision And Modernity In The Nineteenth Century

Jonathan Crary

The Camera Obscura and its Subject

Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world. 

UNDER THE SUN

By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light

David Alan Mellor

Christopher Bucklow , Guests

Jeanette Winterson, Gut Symmetries

Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

Finding enlightenment in the ground beneath one's feet.

J. G. Bennett.

Walking/Thinking with Ideas/Observations.

Site Drawings and Observational Mappings.

Cultivation Field.

Artist's Development.

Planting Research

Vital Nourishment.

Raveningham Garden Project.

Circle/Linear Time/Centred on objects.

Spiral/Deep Time/Awareness between things.

Architectural Ceramics.

Inseminations/Sketchbooks

Working Ideas/Proposals into Matter/Making

Contents/Description/Instructions/Diagram/Drawing

Curatorial.

Spatial Practice.

Practice/Display/Audience.

 

Hungate.

Julian 600.

Cell/Seeds/Dispersal/Cloud

Organism-Person-Environment

Anglian Potters

5 Years of membership/exhibition/making.

Commissioning of 12 cu ft Gas Kiln.

Kiln Craft Glass Kiln.

Momentum Wheel, refurbish/rebuild.

Drawing Confrontations of Flesh and Bone.

From Models to Drawings.

Figuring It Out.

Anatomy/Art/Photography : Living/Deceased/Represented.

The Body on Display.

From Naked to Nude.

The Impossible Nude.

The Psychology of Nakedness.

Confronting the human form both practically and theoretically.

Vital Nourishment.

Aesthetics in Western Art and Chinese Culture.

Georg Eisler.

Francois Jullien.

The Creative Act : Energy/Abstractions from a dialectic between the poetic and the systematic.

 Harleston 180423

Drawings/Concepts/Constructions are forms/movements of thought.

Being mindful that materials can lead the way.

Tony Cragg.

Diffractive Documents

Matters of Interest/Concern

Pots are fashioned from clay, but its the hollow that makes the pot work.

Tao Lao-Tzu

The Brain Needs Abstractions.

The World is full of beautiful abstractions. 

Nick Cave.

The creative act, the opposite of entropy, puts energy back into our world.

Hungate, Norwich.

Water/Corporeal/Spiritual.

Clay/Vessel/Ritual/Body/Spirit.

Gaston Bachelard, on intimate watery spaces.

The reverie of light and space of an inspiring room. 

The Conduit of Water.

Architecture of The Senses.

The glossy surface of plaster against stone, or the flicker of sunlight on water are all abstract in essence.

The idea that the mind needs abstraction to throw open the range of its thought capacity is fundamental to art and architecture.

Killer Road.

A Tribute to Nico.

Soundwalk Collective with Jesse and Patti Smith.

The Wind, Cd1

P J Harvey.

I can't understand why people are frightened on new ideas.

I'm frightened of the old ones.

John Cage.  

Splitting.

Gordon Matta-Clark.

Site is the un-doing of place.

Generative and provisional, site-specific investigations for sensing place.  

Clay Drawings/Constructions/Apparatuses.

Undercroft/Observatory/Library.

The Garden/Material of Forking Paths.

Raveningham Sculpture Trail.

Site Visit 160423

Sculptural Spacings and Sensual Engagements.

Showing Points/Lines/Vectors of Change/Movement.

Dwelling Demarcations/markers of temporality and disappearance. 

A poetics derived/driven from both the systematic and the small wonders of the everyday.

Circular Breathing/Cyclical Lines. 

The Peripheral Movement/Moment

The Space/Time between things.

The Concept of Sculpting Invisible Materials.

The Array, a phonographic inquiry recording transits of the suns pathways across the sky. 

Wanderings, caught up in the wanderlust of stillness and slowtime.

Paths of movement, paths of observation, paths of existential abstractions following daylight.

The artist's creative act of a self amongst others.

A sculptural deliberation that engages with the experiences of working a site in the landscape.

Body/Clay/Movement.

Breath. 

Bodily Exhumations with Plastic Matter.

Terracotta, Nature.

Fontana/Penone.

Drawing Into The Human Form.

Its conceptual frameworks, aesthetics and contexts.

Inclusions/Enclosures/Involuntary Mappings and Erasures.

Figuring it out, sensuality through making the drawing heard.

Drawing from a blindness, a memory of seeing.

Derrida.

Drawing into the perspectives and  sociological relationships of the Architectural Body, organism/person/environment.

Gins and Arakawa.

Explanations/Gestures of Looking and Mark Making.

Scale/Proximity/Seeing Distance/Situatedness/Environment/Art Work.

Haptic Seeing/moving over the surface of the sociological subject.

Frottage, life drawings with involuntary textures and marks derived from their particular locality and working methods, concrete floors, wooden floorboards, graphite sticks, charcoal, pencil and wax crayons.

The body and its nakedness becomes the instrument of our emotions and our sensuality.

The Psychology of Nakedness.

Naked to Nude, Life Drawing in the Twentieth Century.

Georg Eisler.

Invites the viewer to meditate on the intimate relationship between the clay vessel and the human body.

Julian Stair.

Art, Death and the Afterlife.

Sainsbury Centre, Mezzanine Gallery. UEA.

Marking Durations.

Ground Mappings.

Solar/Daylight Observed/Shadows Recorded 

Clay/Ceramic Multiples/Terracotta/Glazed/Unglazed.

The Diagram/The Program/The Inquiry

A Garden Observatory/Philosophy of Silence/Solitude. 

Upright Human Body.

Space/Time/Situation/Agency.

To build, dwell and explore the space of drawing through intuitive and abstract making.

Like drawings, assemblages drawn and made showing the paths taken.

Living Architectures/Narratives/Dwelling within the Ruinous. 

Tarkovsky.

Bachelard.

Landing Sites/Holding Places.

Between The Body/Sensing Spaces/Voids.

Perceptions, body, organism, environment,

Mezzanines, lofts, basements, balconies, walkways, scaffolds, access platforms.

Clouds and Clocks.

The project arises between a dialectic between the poetic and the systematic.

Between Science and Art.

Stochastic thinking suggests an interconnected ecosystem of architecture together with all of the arts to achieve new levels of correlation.

Light Laboratory.

Camera Obscura/The Pottery Room.

Free School/Out of The Archive, Kilquhanity.

I could gather a leaf, place it in the head of the enlarger and allow it to make an image of itself by passing light through it, akin to Fox Talbot's original pencil of nature experiments. I didn't use a camera after that. I was free to originate my own visual language. I could walk unhindered, let the light into me, as if my own skin and brain were silvered. I could not create light. I only needed  to expose myself to it, by putting myself in its path.

For six years this symbiosis between photography and photosynthesis felt like one of the most perfectly resolved working methods imaginable.

Dark Room.

Garry Fabian Miller.

The internal mechanisms with which we see and experience visual and physical phenomena depend on a bottom-up approach. Building up from elements of abstraction, the opposite top-down approach of given figuration stifles necessary imagination.

Curiosity, imagination and enthusiasm all hold a power in the mind to ignite the creative act.

The Lake of The Mind.

Steven Holl.

Experimental Vision : Research Collage #1

Body, Personal Relations, and Spatial Values.
Composition, Concept, Object.

Space is an abstract term for a complex set of ideas.

The photogram is the immediate result of a constellation of light, three-dimensional object and photosensitive material.

Experimental Vision
FROM BEYOND VISION
Photograms
Flouris M. Neusus

Work in the light laboratory was a standard part of the curriculum.

The photogram became a functional element of a personal time curve, allowing the artist to continually endeavour to see or put phenomena into new relations.

Moholy-Nagy and the Chicago Bauhaus
Thomas Barrow

THE COLOUR OF TIME
Garry Fabian Miller

The Majesty of Darkness
Adam Nicolson

The Unmade
The Pregnant
The Half Erotically Unmade

ADYNATA- Time's Colour, impossible Beauty
Marina Warner

TIME AND LIGHT
Nigel Warburton

TRACING LIGHT
David Alan Mellor
Garry Fabian Miller

Derrida
Blindness
Butades
Trace and Trait

Karl Blossfeldt
WORKING COLLAGES

Reading Spaces/Tracing Light and The Illustrated Man