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

Correspondences and Mediums /Drawing/Speculative Learning Environments

Outpost 300823

Mediums To Correspond With.

The Situatedness of Sinuous Form/Animacy Dancing.

Living/Learning with intensity/shelters and camps, Architectural Association Field Projects.

Garden Constellation.

Raveningham Transductive Mapping/Diagram.

Cyanotype Spatial Drawing.

Transducers convert the 'ductus' the kinetic quality of the gesture and its flow or movement from one register of bodily kineasthesia to another of material flow. 

Brockwood Teaching Academy. 2011.

Speculative Learning Environments.

Brockwood Park Grounds.

A walk in the landscape whilst moving-making with clay.

Developing a mindfulness that is immanent in the attentiveness to ones surroundings through the playfulness of material and others.

Brockwood Park Library.

Hidden Curriculum.

Assemblage in the library for the re-imagining of architectural thinking and spaces for learning.

Architecture without architects.

Throwing Sticks.

The energies of the work,come from the gathering of materials and the gesture that animates them. For Goldsworthy the strength of the work lies precisely in the energies emanating from materials in their movement, growth and decay, and in the fleeting moments when they come together as one. Throwing as Goldsworthy shows us is not so much the outward effect of an embodied agency as the propulsion of animate being as it pulls, spills out into the world, it is the propulsion of life itself. 

Ingold/Goldsworthy

Relationscapes/Erin Manning

Making.

The Propulsion Of Animate Being.

Tim Ingold.

The Clay-The Potter-The Wheel.

The potter's feeling flows in and out in a correspondence with the clay.

You do not need clay to 'interact' with the wheel, but you do need a wheel to 'correspond' with the clay. In pottery the mindful or attentive bodily movement of the practitioner, on the one hand and the flows and resistances of the material on the other, respond/correspond to one another in counterpoint of affective resonances, sentient awareness, and the  flows/currents of animate life.

The distinction between interaction and correspondence if that, interaction is the dance of agency between definable points and objects, whilst correspondence can be seen as the dance of animacy weaving between all things and their phenomenal flux in the world.

In the dance of animacy bodily kinaesthesia interweaves contrapuntally with the flux of materials within an encompassing morphogenetic field of forces.

The flow of air, the wind, the breath of life are all the very antithesis of embodied agency.

For Ingold the very idea of agency and agents is the corollary of a logic for a closed system of embodiment, a system of closing things up in themselves.  

Making/Intuition In Action.

Beyond mere human embodiment and objects and into a world full of correspondences/animacies that propel things and phenomena into the world. 

World Without Objects, Tim Ingold.

The choreographic diagram/proposition generates less the stability of a complex of form, than the foregrounding of a field of resonance that defines a certain quality of activity. It speaks/seeks to create a drawing/diagram that captures in a fleeting moment the very qualities of movements and their expressibility such that their force of form can be felt.

Erin Manning.

Drawing, seeing made visible, through the pencil as transducer, not a vector of projection or a bridge between the architects imagining mind and the image on the paper.

The mark on paper leads as much as it is led.

Tim Ingold advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.

Individuation's Dance, pushing your consciousness deep into every atom and cell.

Atom and Cell, Nine Horses, David Sylvian.

Correspondences.

The Material of Life.

Drawing into the animacy of things and feelings.

The drawing that tells is a correspondence of kinaesthetic awareness and the line of flight, it is a correspondence that is alternatively sewing the line into the mind and the mind into the line in a suturing action that grows tighter as the drawing proceeds.

The Stage of Drawing, A Walk for Walks Sake, Bryson.

Instead of dictating a thought, the thinking process turns into an act of waiting-listening-collaborating-dialogue in which one gradually learns the skill of co-operating with one's own work. This thinking, this imagining goes on as much in the hands and fingers as in the head, it is strung out in the lines of practice.

Pallasmaa/Ingold.

Thinking Through Drawing.

Barry Phipps.

Drawing is a gathering and a co-operating with one,s own work, a pulling together closer of the lines of inquiry. 

Drawing The Line.

Making/Transduction and Perdurance.

Tim Ingold suggests colour saturates consciousness, line leads it. Thus if the line traces a process of thought then colour is its temperament. Both line and colour are modalities of feeling, but where line is haptic, colour is atmospheric. 

All Buildings are Drawings.

Simon Unwin.

Only in the eyes of the architect is the trowel a bridge between the initial design and the final construction. For the builder it allows him to navigate the treacherous waters that flow beneath.

Tim Ingold.

When one is young and narrow minded, one wants the text and the drawing to concretise a preconceived idea, to give the idea an instant and precise shape.

Juhani Pallasmaa.

Raveningham/Trails and Wayfaring/ Finding enlightenment in the ground beneath one's feet. J. G. Bennett.

Existing between the subjectivity between things.

You Are The Weather.

Roni Horn.

Clouds and Clocks.

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

Between Science and Art.

The Embodiment of Minimal Gesture.

Wanderlust, A History of Walking. 

Rebecca Solnit. 2002

The Mind at Three Miles an Hour.

Everyday Aesthetics : Ordinary Lives

What shall I do next?

Tim Ingold.

Finding enlightenment in the ground beneath one's feet.

J. G. Bennett.

Tim Ingold is an anthropologist who has looked at the interface between people and the environment. In The Perception of the Environment, he argues that ecological psychology and the philosophical writings of Heidegger and Merleau-Ponty share the view that the world becomes  meaningful through active inhabitation, or 'dwelling', rather than cognitive representation. 

Curriculum Making : The Enactment of Dwelling in Places.

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 

Raveningham/Scripted Places

Garden/Ground/Circulation Diagrams.

Doing Slow Philosophy : Materials/Objects/Things/Walking/Listening to the wind 

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

The Autonomy of The Natural Environment.

Sculpture/Playing with the existence of things.

Field Studies : Pathways around the Sun.

Drawing : Assemblage of Lightness and Weight.

Enmeshed Space : Working Drawing with Handwritten Notes.

Lawn Deliberations/Mappings of Human Agency/Space/Time.

Space projected from the body is biased towards the front and right.

The future is ahead and 'up.'

The past is behind and 'below.'

Time as a structure/place to observe things in constant motion/relation.

Drawing Site/Spiral Windings/Diagram/Spherical Markers

Terracotta, lime wash/lamp black/blackboard paint/chalk/ink

Ground Pegs/Labels/Text Markings/Archival Information

Points becoming lines, Tim Ingold.

Reading Matter/Rooms.

The Lake of The Mind.

Stochastic Thinking.

Steven Holl.

Raveningham : Site-specific project place

The Garden of Ongoing Differences.

Diffraction/Energy/Analysis/Attunement 

Site Cyanotypes/Drawings/Intermediaries

Spatial Collages Reconfigured  

Walking/Thinking with Ideas/Observations.

Site Drawings and Observational Mappings.

Cultivation Field.

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

Dark Room, Garry Fabian Miller.

If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.

Ben Highmore

Rich Lyrical Motifs.

Brilliant Trees.

Within each lesson lies the price to learn.

David Sylvian. 

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

Cell/Seeds/Dispersal/Cloud

Organism-Person-Environment

Working Ideas/Proposals into Matter/Making

Contents/Description/Instructions/Diagram/Drawing

Presentation/Ritual/Repetition.

Art is contemplation and must act upon our consciousness.

Objects/Things are part of the artist's immediate existence.

Contemplative experiences become truly meaningful when they occur in everyday life and when nirvana or the state of superior awareness blurs into samsara or ordered time.

For Tapies, repetition is above all else a perpetual questioning or a perpetual becoming.

A working process that is additive, which incorporates changes and accidents and as such his methods are hardly erasing anything that is already present on the canvas.  

A Summer's Work, Antoni Tapies.

The Garden/Material of/for Forking Paths.

The Diagram/The Program/The Inquiry

Marking Durations.

Ground Mappings.

Solar/Daylight Observed/Shadows Recorded 

A Garden Observatory/Philosophy of Silence/Solitude. 

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.

Curatorial.

Spatial Practice.

Practice/Display/Audience.

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.

Tim Ingold 'Making'

Camouflage : Neil Leach

Camouflage offers  a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.

Camouflage may  therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.

Aesthetic  production should maintain the capacity  to operate as  a mediation between the self and the environment, but only aesthetic production whose design has been carefully  controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively  mapping an individual within the environment. 

Design becomes  a crucial consideration for the effective operation of camouflage.

In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.

The thing contained is not the thing contained.

Manifesto for explorations of 'IN'

Steven Holl.

Vessels of Retreat/Dark Pots/ : The Body and its Entanglements with Things/St Ninian's Cave, Scotland.

Vessels of Retreat : Dark Pots around the Innerness of Ceramics.

2025, Ceramic, 180mmW x 265mmH x 65mmW.

Curriculum making as the enactment of dwelling in places,

Thrown ceramic vessels fired on the remote beach at St Ninian’s Cave, Scotland.

These vessels were originally thrown on a momentum wheel situated in the small niche like space of a scriptorium. The interiority of the bowls seek to reflect the quietness and openness of a ‘retreat’ through material and the muted light of its surroundings. A post firing process was employed of removing the bowls and their still molten interior into a chamber excavated on the beach to become reduced by local organic material and to cool. Once cooled the bowls were washed in the Irish Sea to reveal their glazed interiors for the first time.

Heidegger’s topology, Being Place, World.

Jeff Malpas on the concept of place and how it relates to core philosophical issues found in Heidegger’s engagement with place, his philosophical starting point: of finding ourselves already ’’there” situated in the world, in “place.”

Clarifying the relation between space and place which contains inherent difficulties in as much as they are necessarily connected (inasmuch as place carries a spatial element within it even while space is also a certain abstraction from out of place), but there has been a pervasive tendency for place to be understood in terms of purely spatial. Jeff Malpas

SPACE= ROOM TO MOVE

or as a verb To Make EMPTY, EVACUATE, EMPTY OUT. The Production of Space/Human Agency/Place

PLACE=VTLLAGE, TOWN, or OTHER SETTLED LOCALITY.

PLACE=HOME

PLACE=A VERY SPECIFIC FORM OF BOUNDEDNESS/GATHERING As a gathering of elements that are themselves mutually defined only through the way in which they are gathered together within the place they also constitute.

DESIGN=TO PUT IN PLACE

Place referred to merely in the sense of position or location - usually the location or position of some already identified and determined entity.

Slippages, Anomalies and liminal spaces. Our relationships with space and place.

THE MEMORY OF PLACE

A PHENOMENOLOGY OF THE UNCANNY

Dylan Trigg’s The Memory of Place charts the memorial landscape into the body and its experience of the world. Trigg analyses monuments in the representation of public memory, “transitional” concepts such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves.

STOA, a complex topology.

The Stoics took their name from the place where they met. In the stoa they talked as they walked along the long shaded alcoves. The stoa offered shelter from the sun and rain without becoming an enclosed room. It was an in-between and transitional space, neither outside nor inside. Conversations could commence through casual interruptions in a site of gossip, rumour and information.

We imagine the stoa as a spatial metaphor for the emergence of critical consciousness within the transnational public sphere. It is a space for criticality without the formal requirement of political deliberation and for sociality without the duty of domestication.

The stoa is the pivot point at which private and public spheres interact and from which the cosmopolitan sense of being and belonging from the vantage point of the stoa, then the telematic linking of two screens in the public squares of Australia and Korea can be viewed in a new light.

The linking of these screens creates a new transnational public space, a space for the creation of a new discourse on the topology of the cosmopolitan imagination in contemporary art practice.

Thinking the place of art within this context is more than jumping from either the local to the global, the private/oikos to the public/bouletrion, or even the singular to the universal. It is more like the liminal zone of the stoa.

Public Screens and Participatory Public Space Nikos Papastergiadis, Scott McQuire

Flesh and Stone,

The Body and the City in Western Civilization. Richard Sennett.1994

Basically a long shed, the stoa contained both cold and hot, sheltered and exposed dimensions; the back side of the shoa was walled in, the front side consisted of of a colonnade which gave access onto the open space of the agora. Though free-standing the stoas were not conceived as independent structures, but rather as edging for the open space of the agora.

Sennett: Flesh and Stone, page 50. Bringing Things to Life

Creative Entanglements in a World of Materials Tim Ingold

EWO= The Environment Without Objects

THINKING AT WAVERLEY, as a site of multiplicity and memory. Walking is Thinking, Richard Long

Heidegger-To participate with the thing in its thinging

Our most fundamental architectural experiences, as Juhani Pallasmaa explains, are verbal rather than nominal in form. They consist not of encounters with objects - the facade, door-frame, window and fireplace - but of acts of approaching and entering, looking in or out, and soaking up the warmth of the hearth (Pallasmaa 1996: 45). 

As inhabitants, we experience the house not so much as an object but as a thing. (Ingold 2008: 8)

Curriculum making as the enactment of dwelling in places

Ceramic Gate/Waverley Stoa : Objects in a landscape/studio space of Gordon Baldwin

One Place After Another: Notes on Site Specificity, Miwon Kwon. 1997

The Reading Room (a library of subjective taxonomies on the alchemy of building)

The Listening Room (a soundscape interior in time with its environment)

The Sheltering Corridor (a modernist Stoa as a place for encounters/dialogues)

The Pot Room (a installation of thrown objects creating the interior partitions)

The Empty Studio (a adaptation of architecture through the ritual of creativity)

Kengo Kuma, Anti-Object, mindfully and experientially explores voids, vernacular materials and agency of spaces.

Utsu means nothing or emptiness, the void.

Wa means the border between nothing and something.

I want to make what we don’t see, and that means I must make what we see. My work is a container for what we don’t see.

Taizo Kuroda, Potter.

Natural Connections, Exhibition Proposal.

Humanities about the processes and experiences that map the evolving human condition.

Humanities and the Arts.

The Body and its Entanglements with Things.

The Ceramic House, 

A space of life. 

Exhibition 

Architecture of the ceramic vessel

Ideologies of Innerness 

The Archive

Flesh can house no memory of bone; only bone speaks memory of flesh. Voids, spaces between the bones, residues of the flesh

Flesh and Stone, Richard Sennett

Understanding the beliefs and practices that enable Relational Egalitarianism 

Kuper, Tim Ingold

Exhibitions, Pavilions, Huts and Observatories.

The Parallel of Life and Art, Alison and Peter Smithson The Physical Self, Peter Greenaway

Thames Dig, Mark Dion

The Barcelona Pavilion, Mies de Rohm

The Solar Pavilion, Alison and Peter Smithson

Field Photography: Light on Natural Phenomena and Site.

Pinhole photography and photograms on light sensitive paper with annotations from both research material and working practices. Visual material and artefacts acquired from archaeological sites whilst participating in recording the archaeological process at St Mary Magdalene Leper Hospital, Mom Hill, Winchester. The work explores subjectivities in the recording of natural phenomena, the spirit of place and its scientific inquiry and production of fabricated forms in the realm of a contemporary art context.

Sensing Places : Towards an Alchemy of Thinking.

Sensing Places : Towards an Alchemy of Thinking.

This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.

Dwelling Apparatuses, Heidegger.

RAVENINGHAM 2025

WORKING NOTES

Developing relations on the specificity of a landscape and the weather.

Construction site, towards an alchemy of thinking and making space and the instants of the wonderous.

Some ways of thinking.

Processes enabling situations through strange constructions.

Diffractive apparatus of components, materials and filtered light.

Explorative, site specific and performative.

A fictive space articulated through the alchemy of light and water.

Sensing space, seating for a site of speculative inquiry.

Material Matters : Architectural/Perceptual/Sensing Phenomena.

Correspondences, Human Bodies/Spatial Bodies.

Reflections/Movements/Environments/Landscapes

Using site as a research instrument, a compounded object of self assembly, and crafted components, materials and substances. A sculptural intervention, event based merging the poetic with the tectonic.

Apparatus/Device/Model.

Sensing composition, situating a site for speculative inquiry.

An exploratory and site specific installation that can open up our interior world to the proximity of both the situation of a natural environment and the experience of a conceptually made object/space that facilitates a sense of wonder, resulting in  an alchemy between these two realms of experience.

Art works constantly to  brokers these relations within us.

 

Corpus/Borderlands : A Society in Excess, Marc Auge.

Corpus : Photographic drawings from human outlines

Borderlines : Cley 19, speculative submission for exhibition

ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS.

CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. 

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.

Submission Guidelines

All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.

BORDERLINES

Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.

Geographical Environmental Landscape

Terrain

Migration (Wildlife/Humans) Transmigration

Socio Political Departure

Borderlands

Borderlines

Borders

Lines

Spiritual Embodied Walking

Wandering 

Wanderlust 

Movement

Borderlines, simultaneously both boundary and threshold.

Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,

Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.

 Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass. 

Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal. 

Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels. 

Cell, Court, Domain, Field : Layered paper, paint, and absent objects.

Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.

Working Notes/Extracts and Fragments from site visit. St Margaret's Church

Silence and stillness, social/historical shelter from/within the landscape

A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage. 

An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.

Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.

Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.

What does Borderlines mean to you? Boundary and Threshold

Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,

Material Process/Inquiry, Praxis, Content, Context

Form, Existential Qualities/Values AGENCY

Mindfullness of the brief to discover things through the inquiry and engagement with the site. 

Develop Inquiry

Documentation, Artist Book, and other media mixed media painting

Small series of glass panels ceramic tiles/facades

Photographic material/photograms, drawings/hangings on Chinese paper

Melancholy Landscapes : The Plague/Vermilion Sands

Film Collages, hybrid processes and temporal states Liminality: Literature/Philosophy/Visual Art

Landscapes : entering/intruding/emerging (holga819) Existential Gestures : Looking away from the sea

Ballard : Vermilion Sands : Speculative Fields/Spatial Practices Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modem type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'

Shusha Guppy, Sunday Times

Walking into Emergent Landscapes 

Walking/Thinking/Physical Entanglements in the Landscape

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

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.”