An asperity of thoughts/Vibrant Matter : Braking Down/Diffracting/ The Apparatus of Reading/Research

250323

Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.

Research as a discursive activity gathering new forms of expression. Duration, Steven Holl

Building/Uncertainties into the explorations of making. Rem Koolhaas.

.

REVIEW into INTERIORS MA UCA 2013-15 Research into new forms of translation/transmission

MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION

MATERIALS THEMSELVES become the TOOLS of PERCEPTION 

Enchantment from the potential of things.

The Fabric of thoughts

The invisible within the visible (energy,magic,causality)

RELATEDNESS, connected to the Place and Function of Things within a Field.

Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant.

We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships.

EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler

The World is a Collage

Collage and montage are quintessential techniques in modem and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble.

Juhani Pallasmaa

Hapticity and Time

Notes on a fragile Architecture

The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold

See Yourself Sensing Redefining Human Perception Madeline Schwartzman

STILLNESS IN A MOBILE WORLD Bissell, Fuller

ECOLOGICAL approaches/affordances to aesthetic perception ART and AESTHETIC PATTERNS : into an ecology of mind.

Going beyond what it may represent into the important psychic information that it contains. Camouflage is addressed, perhaps, less to architecture itself than to the subjective processes by which 

human beings experience architecture. Illustrated by the photographic practice of Francesca Woodman, we see her seemingly absorbed by her environment in way that shows a desire to both identify with, and become part of her surroundings.

A desire/transgression met and mediated through a certain sensitivity and openness to the environment, fostering a sense of connectivity between human beings and their environment.

Neil Leach

EXISTENCE, SPACE and ARCHITECTURE Christian Norberg-Schulz

A child 'concretizes' its existential space.

Developing the idea that architectural space may be understood as a concretization of environmental schemata or images, which form a necessary part of man's general orientation or 'being in the world.'

SUBSTANCES guide the kinds of practical actions that the organism senses from elements of the environment, creating affordances/utilities for the human body.

SURFACES separate substances from medium, the wall and roof of my house afford comfort by separating me from water and too much air.

AFFORDANCES as aesthetic sensations determined both by the environment and qualities we impose through observation, sensation and perception.

Without arousal of perception, no aesthetic experience is possible. The rational organization of society has its own Aesthetic Attraction

Symmetrical Patteming/redundancy : provides for the observing mind a maximum of insight with a minimum of intellectual effort.

Colour Light Time

Quintessentially relational phenomena in which location, background, density will provide for different perceptual relations.

Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.

WORKING TEXT: 16/May/2020 The R Value in Academia

Reading/Reflexivity/Research with precision and indeterminacy 

Research Material : Studio/Archive 2004-2020

The Language of Specitivity/Places of Inquiry Extradisciplinary Investigations

Social Utilities/Contemporary Art Practices imported from Political Philosophy

The return of limited and ancillary projects where the human being is the fulcrum and the fire of research in replacement of the medium and the instrument.

A whole range of materials and topics that do not fit, that can create an eclectic synthesis of knowledge fields.

Arte Povera, an aesthetic-philosophical movement, artists that chose to live with direct experience and feel the necessity of leaving intact the value of the existence of things. An 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.

Germano Celant 1940-2020 

Developing discursive reading 

WORKING DOCUMENT/LANDSCAPE LANDSCAPES/Thinking Spaces

Concepts of space-time/Ecologies, embodiments through identity, individuality and environments. Our universe is evolving in time as our views are evolving

RIVERS/Eddies and husbandry

(in/with the phenomena of water, thinking with the fish in mind) 

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

Architecture/Built Environments Ecology/Political Philosophy

Spatial Practice, Culture, Creativity and Environment

Diffractive erotics of the body in her speculative post studio practice 

Asperities of flesh, dirt and the built environment

Neil Leach, Camouflage, F Woodman

 

The Enchantment of Modem 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

Be not inhospitable to strangers lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate David Childers, Heart In My Soul

Spatial Practice Interior Design

Building a precision/working praxis that is both aesthetic and technical that can give an intimate understanding of the material and its situation.

Subjectivities interwoven through light and media Asperities of fabric and texture : White Collaged Postcards

CREATING AN ANTHROPOLOGY TOR BEING IN THE LANDSCAPE DEVELOPING MATTER AND DESIRE IN ART BASED ACTIVITIES

WORKING NOTES, 24 October 2018

SETTING UP THE CRITICAL DISTANCE / DISCURSIVE FIELDS OF ANALYSIS MEASURING AFFECT

PERFORMATIVITY ITS EXPERIENTIAL QUALITIES/PSYCHIC IMPACT RESEARCH IN LANDSCAPE AND ENVIRONMENTAL DESIGN Visiting the Archive : Exploratory Workshop

September 1, 2018. W&BA Harleston

CREATING THE FEEDBACK LOOP

BLURRING THE BOUNDARIES BETWEEN PARTICAPANTS AND ARTISTS RADICAL INTERVENTIONS INTO THE EVERYDAY

Walking and Making with Clay, Brockwood, Speculative Learning Program

' the clay itself seemed to absorb them into a wandering relation with the landscape' A Field Guide To Getting Lost, Rebecca Solnit.

In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty.

Tracks Across The Landscape

Setting up a critical spatial practice within the walking landscape of the everyday. Edward Thomas, Paths

John Piper, Covehithe, South Bank Show, painting/drawing both on site and in the studio. 

Watts Gallery, analysis and audit of activities from which to develop visitor programs and the experiential circulation of those who visit.

Melancholy and The Landscape, Jacky Bowring.

Locating Sadness, Memory and Reflection in the Landscape. Investigation into the creative membership and activities of W&BA.

Sculpture Trail, Curatorial Strategies/Market/Audiences

From newsletter to art themed walks, Historic Culture/Landscape and Tourism Plotting points of social interactions, asking Why Here, Why Not There?

What directs events, governs outcomes? Success and failures?

Management and event led, members as audience? MA Arts Management

New Cultural Diversities

10 Days at the Laundry, Winchester 2009.

Group of creatives based in and around Winchester School of Art, use of fallow site in which to respond and to create for 10 days a contemporary arts festival. This original event 'fused' new creative partnerships that went on to produce other groups and exhibitions. The follow-up event 10 Days in the City, was funded, had more prestigious venues, but lacked the cohesion and community of the first site.

Supplementary content, resources, dossier outlining the inquiry of which the work is a part. MOVING THE CULTURE

DISCURSIVE FIELDS FOR NEW TYPOLOGIES/OPERATIONS AND TACTICS CONCRETE POETRIES

LOWER GREEN, NORWICH

' At the surface, the gorgeous materiality of Okon's work is seductive but her intention to breach superficial readings is much more serious. This conjugation of material is also a conjuration, an earnest attempt to attempt to imagine and materialise new possible realities.'

Matter and Desire, An Erotic Ecology, Andreas Weber.

SITE SPECIFIC EMBODIMENT, working, making, discovering. Post Studio Practices, Daniel Buren. Deep Arts Ecology Investment and Nurturing, 'it always begins with the art, Hans Ulrich Obrist. 

The heavy, awkward investment of actually getting people to 'place' to participate is difficult. New technologies could offer solutions that could in turn promote innovative creative ecologies.

NEW TOPOLOGIES FOR BEING IN THE LANDSCAPE NETWORKS, MESHES, NODES, CONNECTIONS

Becoming embodied within the making of the work, within an intimate dwelling place. Strange Tools, Art and Human Nature, Alva Noe.

Crafted Scenography, 

Exhibition, 

Visual Art, Tacita Dean

Shadowcatchers 

OUTPOST

STUDIO as a discursive site for un-doing and re-making relations/aesthetics between objects/the social/the everyday.

STUDIO ANALYSIS 2018-2020 21 September 2018-19 August 2020

Art School Spaces Outpost Studio Spaces Urban Fallow Institutional Buildings 

Open Plan Office Spaces

Studio 3.16, Central Norwich, nearby parking, Floor area/footprint 5.0mx5.0m, wall spaces 2x2.4mx5.0m, well lit, open plan, large making table 1.2mx2.4m. Electricity, small heater, lighting, running water WC, access 24/7.

Projects/Contexts bought into the studio space

Drawings/Southampton roof rubbing, drawings/art works as sociological shelters/habitats Immaterial Paintings/Cyanotype, layered papers

Raveningham sculpture elements from intervention Cley, sketch books and paintings

Re-presentation of drawings/collages with new research material/contexts

Paintings displayed with large analogue phonographic images and collages Architectural concerns, coloured glass, aesthetic surfaces, paintings with raw materials Installation of research bookcases as diffractive elements/spatial practice within the studio White paintings, used layers of paper texts, meshes and cloth

Ceramic objects on field paintings/grounds

Research material, folders, wrapped ceramics with fabric, yellow ochre on paper

Canvas painting, inclusions, shells/stones, cyanotype/yellow ochre, gesso/white paint, pierced 

STUDIO WORKS

Paper/canvas paintings 1.5mx2.4m Canvas re Raveningham Shelter, 2.4mx2.4m

Spray paint, large floor works left undisturbed during making Future proposals Cley 2021, Artpocket activities, Project Space,

WORKING NOTES

OUTPOST 12/09/2019

A Philosophy of Solitude

Hand Bookbinding

Lead/Waxed Paper

Art puts US on Display

Strange Tools

Art and Human Nature

The Politics of Things

The properties of Light

Fred Sandback/Luis Barragin

On Pictures and the Words that Fail Them Melancholy and the Landscape Process-Relational Philosophy

Jannis Kounellis

Christopher Wilmarth

The Ground of The Image

Sally Mann, The Flesh and The Spirit 

The Eyes Of the Skin

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Spatial Interventions/Problems/Praxis of Method : Novalis/Bachelard/Arte Povera.

Outpost 131223

Body Movement.

Robert J. Yudell.

The interplay between the world of our bodies and the world of our dwelling places is always in flux. We make places that are an expression of our haptic experiences even as those experiences are generated by the places we have already created. Whether we are conscious or innocent of this process, our bodies and our movements are in constant dialogue with our buildings.

Problems of Method.

Novalis/Bachelard.

No vision invites him to do so, it is the very substance he has touched with his hands and lips which summons him. It summons him materially by virtue of what seems to be a magical participation. The dreamer undresses and enters the pool, only at this moment do the images appear. They emerge from matter, they arise as if from a seed out of a primitive sensual reality. A rapture which cannot yet project itself on the feminine substantiality of water. Water becomes woman against his breast.

Gaston Bachelard would like to develop a philosophy that has no point of departure, and a philosophy that is not a point of departure. Bachelard in his books, attempts to systematize formal material and dynamic imagination.

Space contains compressed time.

On Poetic Imagination and Reverie.

The Autobiography of Lost Possibilities.

Gaston Bachelard.

A dispersed philosophy that must constantly operate on its very edge, at the very limit where its systematizing impulse is challenged by the actual creations in other domains of human activity. Bachelard becomes a 'hinge' between totalizing metaphysical systems and polyphilosophy.

Bachelard does not develop a fully fledged philosophy of values, rather his books offer lessons for working, reading, breathing and dreaming well, all of which constitute an art of living poetically. Throughout his work he developed the paradox, that the primitiveness of poetic consciousness is not immediately given, it can only be a conquest. Images reveal nothing to the lazy dreamer.

Colette Gaudin. 

Guiseppe Penone.

Souffle 6. 1978.

A large earthenware jar on which the artist has stamped the imprint of his own body. This process shows a sensorial conception of art, a concentration on the organic and the original, reasserting the permanent nature of myths and an animist conception. A vitality of matter, material and object.

The National Museum of Modern Art.

Georges Pompidou Centre.

Arte Povera as an artistic praxis, highly critical and anti-cultural. An art that explores a 'strange area' that is interested in elemental human situations. It was the art critic Germano Celano who in reference to the research done by the polish theatre director Jerzy Grotowski, outlined in his book 'Towards a Poor Theatre' proposed the notion of Arte Povera in 1967.

Epicurean Asceticism.

The Phenomenological Approach.

Problems of Method.

Reading as a dimension of consciousness.

For Anna Teresa Tymieniecka, the essence of life is not a feeling of being, of existence, but a feeling of participation in a flowing onward necessarily expressed in terms of time, and secondarily expressed in terms of space.

Poetry as a synthesis of human existence.

Bachelard's auditive metaphor 'reverberation' for the poetic image brings together through sound, both time and space. In its reverberation, the poetic image will have made a sonority, a situatedness of being.

Science and Poetry.

Concepts and images develop along two divergent lines of spiritual life. The image cannot give matter to the concept, the concept by giving stability to the image would stifle its existence.

Nascent Material/Media.

Drawings rendering an insistent corporeality.

Drawings loosing their haptic senses of mark-feeling and becoming increasingly camouflaged into an image based on representation of an objectified art form/context. 

Life Drawings subdued by visual representation.

Is the initial situation/situatedness/awkwardness of drawing process becoming overwritten.

Drawings feeling the body marking its presence in the space /stage of drawing.

A Situated Practice : Fields/Alignments/Energy : Durational Light Drawings

 

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

Structural Modalities/Making/Tensions : Spatial Form to gather/interact with discursive research.

5

Procedural Architecture

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 

From The Bookcase to The Field Table : Landing Sites of Inquiry

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Speculative architecture

On the aesthetics of Herzog and De Meuron

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts