Biosphere/Archipelago : Sun Drawing/Cyanotype/Spheres of Activity

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings, 

precision and indeterminacy, human form, ecology, 

environments, contemporary art practice

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence

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

Procedural Architecture/Architectural Body

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins, 

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists, 

Hyde Writers, collaborations. visual art, poetry

Conceptualising Environment(s) : The More She Burns the More Beautifully She Glows~Sounding Innerness~Sympathy

Making : Continuity and Change.

Sounding Material Movements~Durational Exposures/Erasures/Configurations

Ballard : Vermilion Sands~Diffractive Readings  :  Speculative Fields/Spatial Practices

From One Place to Another : Contained Inner Spaces/Systems.

Outpost 220724

Thus we cover the universe with drawings we have lived. These need only to be tonalized on the mode of our inner space.

Gaston Bachelard.

The Poetics of Space.

Art is energy.

Graham Gussin.

We take ...our everyday external reality very much for granted: the room that we sit in, the streets around us, the virtual space of billboards, and movies and TV ... we take all this for granted. But in fact it is, literally speaking, an illusion generated by our central nervous system. It's as much a virtual reality as the one the cyber people are working on ...Within our minds all these different planes of spatial reality are intersecting.

J.G. Ballard, KGB 7, KGB Media, 1995

All of Graham Gussin's work engages in some way with the human experience of the infinite. He is conscious that our perception and understanding of the world is manipulated and transformed by a complex layering of mass communications and consumer culture. Often his work suggests a sense of displacement, playing on our desire to be somewhere else, in a different time or space.

He has been particularly influenced by science fiction, especially of the sort that presents a set of circumstances requiring resolution, such as H.G. Wells's The Island of Doctor Moreau, or touches on what J.G. Ballard has described as the 'internal landscape',

Any Object in the Universe relates to a romantic tradition of landscape, together with the idea of a uropian space which is often explored in these types of science fiction.

Much of Gussin's work is experiential, dependent on the viewer for its completion. In Beyond the Infinite of 1994, for example, the artist appropriated a scene from Stanley Kubrick's film 2001: A Space Odyssey. He edited and displayed two film loops of the same scene, one slightly longer than the other so that one loop appears to wait for, or follow, the other: 'The shorter loop has the spaceman wandering around the hotel, endlessly looking for himself. The longer loop includes not only this search but also the discovery of himself as an old man', Kubrick's narrative sequence is effectively disrupted. Standing between the two monitors, the viewer becomes a conductor of time and space between the two scenes.

States of mind seem to be the main subjects of Gussin's work, conditions or states that might be, for example, associated with the sublime, the sense of awe and wonder that takes one out of oneself, But it is the failure to find the sublime moment that he appears to linger on. In Fall (7200-1) he deals very literally with the agitated state of expectation, Confronted by a large video projection of an unspectacular landscape the viewer stands on the edge of it waiting for something to happen, Suddenly the tranquility and emptiness of the landscape is disturbed by something falling dramatically out of the sky, shattering the still surface of a lake: 'I like the idea that Fall embodies the possibility of this thing happening without anybody seeing it. The splash occurs infrequently so the subject of this piece isn't really the disturbance- rather it's the possibility of it happening'.

The idea for Any Object in the Universe stemmed from a short story by Edgar Allen Poe, A Tale Of The Ragged Mountains, which the artist summarises as follows: 'The whole text is a vision ...there is a character who takes a lot of opium and coffee. He then goes for a walk and slips into a previously unrecognised region within his geographic locality. Within that second or parallel space he dies, but somehow returns to tell the tale of his death in that space. When his tale is complete he dies in real space and time. So it's a kind of closed loop, returning in and out of and being effected by two parallel spaces, an illusory space that becomes so powerful that it results in death'.

A similar notion of slipping between two spaces underlies Any Object in the Universe. Walking in to a darkened room the viewer steps on to a slightly raised floor, each step producing an electronically generated echo. The walls are clad with what appears to be sound-proofing material. Projected on to one wall is an image of the same room, empty but for a microphone on a stand. Confusingly, the echo appears to be coming from the fictional, projected space. 'What at first seems to be an echo chamber becomes a space where sound cannot escape, a trap of some kind.' The viewer, like the echo, seems to be caught between a real and an imaginary space.

The other fictional space that influenced Gussin's making of Any Object in the Universe is the sound- proofed capsule depicted in Nicolas Roeg's 1976 film The Man Who Fell To Earth, a capsule where, as Gussin describes it, 'all sound is deadened and disappears ...It's an enclosed, very precise and exactly measured space, but also an infinite space ...In the film David Bowie falls to earth. The whole film is a struggle against gravity, ...about him attempting to get back into the sky, which he doesn't achieve'. Commenting on his use of an image from the cinema screen the artist has said, 'I like the way that filmic space spills out into reality'.

As if standing in front of a painting by Mark Rothko, or on the 'beam-me- up' platform in Star Trek, we stand on the raised floor, waiting for something to happen, desiring to be transported in some way to another dimension. The artist explains: 'What I was interested in trying to do was to place the viewer in the space that is projected, just for a split second, so that it makes him or her disappear from the space he or she is standing in to occupy that space, even just for the blink of an eye ...That's where the work really lies, in that momentary confusion of not being able to tell'.

Alongside Any Object in the Universe Gussin shows a number of black and white line drawings. Like the installation, these Drawings of Nothing and Nowhere explore how we experience space. The rectangular shapes seem to hover on the surface of the paper yet perspectivally they disappear towards a central vanishing point. As familiar as the introductory credits for Pearl and Dean advertising that prepare audiences for the immersive space of cinema, they ask the viewer to think about location, about their position in time and space. The drawings cannot succeed in the aim suggested by their title, instead they draw attention to the way we attempt to articulate and measure both internal and external space.

Text written by Virginia Button

https://www.tate.org.uk/whats-on/tate-britain/art-now-graham-gussin

From One Place to Another.

From Another System.

Contained Spaces/Systems.

It's true, I know, that there are more gaps in the island than there used to be. When I was a child, the whole place seemed ... how can I put this? ...a lot fuller, a lot more real. But as things got thinner, more full of holes, our hearts got thinner too, diluted somehow. I suppose that kept things in balance. And even when that balance begins to collapse, something remains. Which is why you shouldn't worry.

Yoko Ogawa.

The Memory Police.

Things oriented in time present themselves to us as irreversible phenomena.

Drawing, traces that create the intermediate spaces of perception.

Visual traces of both the macroscopic and microscopic phenomena/memory/of matter.

Art is all about energy (free energy from one system/person to another)

Durational/Immediate Matters of Concern/Media.

Things/Correspondences in their propositional state of becoming.

Developing the creative liberty with a conceptual structure. This development grows through analogy and recombination. Making an analogy involves taking an aspect of a concept and re-using it in another context, preserving something of its original meaning, while letting something else go. In such a way that the resultant combination produces new and effective meaning.

Carlo Rovelli.

Drawing as an analogically informing process.

Architectural/Conceptual Frameworks.

Making Immediate Spatial Relations/Situatedness.

What Remains?

Why Does It Remain?

The intermediate/immediacy space of drawing as the traces of disequilibrium. 

The formation of every trace is nothing other than an intermediate step towards equilibrium. 

If the present has traces of the past it is solely due to the disequilibrium of that past. It is for this reason that we remember the past not the future. Because of the disequilibrium in the past, we know the past, because there are traces of it in the present, in our memories for example. To say that the past is determined is to say no more that we have traces of it. It is not a direction intrinsic to time that makes the past knowable, determined.

What we call the past is how things were arranged at one point in time.

It is the disequilibrium of the past, only that, that gives rise to traces.

A meteorite that falls on the moon carries free energy with it, its crater is the trace that it leaves until the incessant unravelling of things erases it. In this intermediate phase, the crater is a trace of the impact/event, a memory of it. Only traces exist in this intermediate period. 

The same goes for a photograph, for the memory in our brain, it exists thanks to the fact that free energy has arrived in a system, the camera film, our brain, from another system that was not in equilibrium with it, and the fact that it takes time for equilibrium to be re-established.

White Holes

Carlo Rovelli.

Notes

36. The low entropy of the past is the ultimate source of all the information contained in every trace or memory.

37. The distinction between causes and effects has no meaning in the microscopic description of phenomena. At the microscopic level of things there are regularities, physical laws, and probability and these notions do not distinguish between past and future. The distinction between past and future is a property of history of the universe from the variables that we call macroscopic, it is only for this reason that we can speak about causes.

Gaston Bachelard never developed a metaphysics capable of unifying his reflections on science and poetry.

Much that our powers here cannot sustain is permitted there.

We fly to the other side of space and of time.

The equations of quantum gravity describe a world more complex than a simple spatiotemporal continuum.

Cyanotypes : Creative Ecologies

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

Blueprints : Anthropological Forms
Botanical traces with leper graves

DSC_0205 Archipelagic

DSC_0250 Architectural Blueprint

Biosphere (Ecology and Entropy) 2012.

Transformative Drawing and Cyanotype Processes : The Drowned World, JG Ballard/Humanity an Emotional History, Stuart Walton.

Biosphere (Ecology and Entropy) 2012., a photo by Russell Moreton on Flickr.

Transformative Drawing Processes
Sun Printed Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

The Mirrored Abbey : Humanity, a photo by Russell Moreton on Flickr.

The Custodians, Richard Cowper 1976.
russellmoreton.wordpress.com/

russellmoreton.tumblr.com/archive

Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness

Twilight Abstractions : Liminal Zones/Psychological Realities

Twilight Abstraction : Liminal Zone., a photo by Russell Moreton on Flickr.

La Jetée "a fusion of science fiction, a psychological fable"

Textual Realities, J G Ballard on Chris Marker.

P6120006 MOV

CCTV Installation/Visual Fine Art.

UK based Visual Artist using drawing and experimental photography to explore issues around embodiment. Interested in creating spatial charged architectural interventions using glass and ceramics as conductive and introspective spaces, surfaces and structures between buildings.

Sun Prints : Blue Works/Drawings into the Photographic Surface

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

Cell
Court
Domain

Botanical traces with leper graves

Drawing into the photographic process
Dynamic/Affective Cyanotypes

Biosphere (Ecology and Entropy)
Architectural Blueprint
Archipelagic Architectures
Blueprints : Anthropological Forms
Cyanotype : Architectural Drawing

Anthropocene Library : Pinhole Photograph/Fingerprint (270)a-001

Contents
Etymology
Nature of human effects

New Dark Age

Technology and the End of the Future

James Bridle


The Silence of Animals

On Progress and Other Modern Myths

John Gray


The Drowned World

JG Ballard

Pastoral Space: Material, Inquiry, Art and Craft

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"

"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."

Some Stimulating Solutions, Andrew Cochrane.

Transformative Drawing Processes
Sun Printed Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.