Transactive Spatial Gestures : Anticipation and Action/Affective Energies/Luminosity

12/10/2022

Reading with Deleuze and Spinoza~Radical Intuitions : Interacting with clay

Speculative and Exploratory Field Works.

Inscriptions, handwriting, cognitive connections across visual art materialisms. 

Gathered readings, walking across holloways and embodied dispositions, surfaces/inseparable cartographies of embodied experiences.

Undisciplined knowledge enables and sustains actions, gestures of a post disciplinary field.

Inseparable categories (containers and bodies) and their contents.

The Aesthetic,

The Economic,

The Political,

The Social,

Textures of Light : Vision and Touch in Irigarey, Levinas and Merleau-Ponty : Cathryn Vasseleu.

Bento's Sketchbooks : John Berger. 2015

Spinoza, practical philosophy : Gilles Deleuze. 2001

A concise and illuminating book about the Dutch philosopher Baruch Spinoza, one of the early thinkers of the Enlightenment and modern biblical criticism.

Spinoza's theoretical philosophy is one of the most radical attempts to construct a pure ontology with a single infinite substance. This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical and ontological propositions. His ethics is an ethology, rather than a moral science.

Attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher and this reading of Spinoza by Gilles Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, "Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence."

Gilles Deleuze, known for his inquiries into desire, language, politics and power, finds a kinship between Spinoza and Nietzsche. He writes, "Spinoza did not believe in hope or even in courage; he believed only in joy and in vision . . . he more than any other gave me the feeling of a gust of air from behind each time I read him, of a witch's broom that he makes one mount."

Gilles Deleuze was a professor of philosophy at the University of Paris at Vincennes.

Robert Hurley is the translator of Michel Foucault's History of Sexuality.

Gilles Deleuze's Luminous Philosophy : Hanjo Berressem. 2021

'The plane of immanence is entirely made up of Light', Deleuze writes in Cinema 1: The Movement-Image. Engaging the whole body of Deleuze's work, including less rehearsed texts such as The Actual and the Virtual, Lucretius and the Simulacrum and his lectures on Spinoza, Hanjo Berressem traces the 'line of light' that runs through Deleuze's thought. The focus on the philosophical luminism that suffuses Deleuze's work delivers a novel reading of Deleuzian philosophy from the perspective of the complementarity of the photon. Berressem reveals a wealth of surprising and brilliant insights for anyone with an interest in Deleuze and in the implications of Deleuze's philosophical photonics for historiography, literary studies, painting and film.

https://blackwells.co.uk/bookshop/product/9781474450720

Rendering Visible : Heuristic Mappings/Assemblages and the Production of Open Subjectivities

Visual material must capture non visible forces. Render visible, not render of reproduce the visible

Deleuze and Guattari

Interior : Gridshell

A Hut of One's Own, Ann Cline

For Irigaray, wonder corresponds to time, to space-time before and after that which can delimit. 

Wonder constitutes an opening prior to and following that which surrounds/enlaces.

The Intuition of The Infine

The intuition of a subject that at each point in the present remains unfinished and open to a becoming of the other that is neither simply passive nor simply active.

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.

Texts,Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines,

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.”

DSC_0205 Archipelagic

Research Collage, Waverley Project/Reading Rooms

Blueprints : Anthropological Forms
Botanical traces with leper graves

Walberswick : DSC_0181a/Digital Pinhole. 2016

Being/Becoming : Aesthetics and Subjectivity
Gaston Bachelard, The Poetics of Reverie.
Nick Cave, The Lyre of Orpheus.
Hildur Gudnadottir, Saman.

Prints From Secrets and Ambiguity
Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an image?
— Jean Baudrillard, The Conspiracy of Art, 2005

Jana Sterbak
Remote Control 1989

A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.

Sensate
Non Spaces : Fire escape Winchester School of Art

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

Relational Movements : Temporal foldings and the experience of wonder

Francesca Woodman : Becoming-woman, becoming-imperceptible, becoming-a-subject-in-wonder.

Lone Bertelsen

For Irigaray, Air is the first element, wonder as the first of the passions.

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

Guattari

Woodman's work produces an intimate mode of looking, a questioning body on time and space

Intermediaries/Intervals remain after folding subject and object into one another.

Relationscapes : Erin Manning

The Elasticity of Sensation/The Experience of Wonder

Deleuze argues that Bacon is not fascinated by 'movement' as such, but by its effects on an immobile body and with 'interior' and 'invisible forces'.