Radical Perspectives : Sky Watching /Outpost Studio Space

 Outpost 070922

Radical Perspectives.

Space-time Manifolds.

Intertwined cinemas within a bottle of light.

Fissure space reflection on underside of suspended cinemas.

Concept Studies/Diagrams.

Space was perceived by the body moving through time.

Parallax, Steven Holl.

Plastic Media

Performative Apparatuses.

The Observer and The Observed.

A return via the time exposures to the unexpected and a intricate order made up of  patterns, movements and constellations.

New thrilling metaphorical structures.

Beyond the purely visual, to get a flat surface to interact with physical phenomena, which would be recorded without any intervention or involvement. Photographic events in which some images recorded very determined fixed forms, and in other time-exposures the images became more about traces and about movement.

Susan Derges.

Infra-ordinary

Dust Breeding.

Giacometti's Cell/Studio.

A Species of Spaces.

Intra-acting

Contemporary Architectural Practices.

Spatial Practices/Visual Fine Art.

Quantum Superposition.

At the moment a measurement is made in Beijing, everything remains in quantum superposition with respect to Vienna. The equipment making the measurements, the scientists reading them, the notebooks in which they are written down, the messages in which the results of the measurements are conveyed, are all quantum objects themselves. 

Helgoland,Carlo Rovelli.

Quantum intra-acting

The concretization of  colour as substance/matter/movement/agency.

Beuy's brown and Klein's blue form a pair of opposites, according to the hermetic-alchemical world view, such opposites contain the arcane power of polar dissimilarity that seeks to be augmented and joined together.

Beuys Brown and Klein Blue, Magdalena Broska.

Elective Affinities

Susan Derges/Garry Fabian Miller.

The direct use of physical materials, the interest in systematic experimentation and a preoccupation with the fluctuating perception of events depending on the position of the observer and the nature of the light.

Through the realm of perceptual experiences.

Both art and science alter our perceptions and knowledge, whether from philosophy, science or the arts it filters down into our general awareness to affect our world view.

Wondrous essences put back into existence, through re-achieving a direct and primitive contact with the world.

Plastic media, time based immateriality.

Surface interactions produced from physical phenomena made visible.

Metaphors for phenomena

Patterns as either/both particles and waves.

Unknowing Expectation.

Prints of a scientific exactness.

This reduction of process down to such a simple method.

He felt amazed by the clarity of the procedure, it seemed incredibly releasing and radical, and something to aspire to.

Working series that focusses on the immense through engagement with the specific. 

Homeland, the body gains access to the world as a way of living and working.

Making a garden after the making of the mornings pictures, feels like the right way to fill the hours which remain in the day.

Field Studies/Kilquhanity.

Building template for positioning of circulatory pathways.

Garden drawings and sculptural mappings of the passage of sunlight.

Shifting relationships of the real world have been assimilated into her imagery.

In particular her world view was affected by the ideas of contemporary physicists.

New possibilities for plastic media has been that phenomena are no longer seen as static entities in space and time, but as dynamic and interrelated with specific structured laws and principles.

The Darkroom as cell and workroom, a room apart from the world.

Science, Order and Creativity.

David Bohm.

The Implied Observer

Towards an understanding of how matter comes to matter.

Performativity is precisely a contestation of the excessive power granted to language to determine what is real, performativity is actually a contestation of the unexamined habits of mind that grant language and other forms of representation more power in determining our ontologies than they deserve.

Thingification, the turning of relations into things, entities, relata, which infects much of the way we understand the world and our relationship to it.

In Posthumanist Performativity, Karen Barad advocates agential realism as an alternative to representationist ontologies that split semiotic from material reality.

Barad argues that matter is not a substance but an intra-activity, and that agency is not an exclusively human attribute, but rather the enactment of iterative changes across macro/microscopic levels of matter.

Matter is performative in that it reproduces itself through the effects of its own intra-active dynamic material relationships. Relata do not pre-exist these relationships, but emerge through them in the fluid, diffractive boundaries that crystalize phenomenon/matter into things/thingification that are positioned in a spatial-temporal affective relation.

The subject/object dichotomy is performatively enacted through the specific spatial temporal proximity between the two necessary for apprehension, in which the approximal relationship through which subject and object emerge. The cognitive split that constitues the I is a discursive practice called the agential cut which is a conception of separability between one thing and another that grants the illusion of agency.

For Barad, discursive practices are not only linguistic expressions of human language, but extend to other material specific practices of intra-action entangled with other intra-actions that produce material phenomena. The material apparati which constrain, but do not over determine these practices find within their own diffractive limits possible dynamic reconfigurations of the world.

Because being is not a static relationality but a doing, that always entails constituting exclusions, a posthumanist engagement with performative matter must not only account for the sites of human/non human cuts, but also challenge the ethical stakes of such cuts.

Summary Notes : Karen Barad, Posthuman Performativity, S.A. Colclough.

Intra-actions produce material phenomenon.

Spatial Diffractions : Architectures of Exclusion

 Outpost 280922

Peripheral Vision : Relationality.

Categories and things may make it easier for us to grasp reality, but they also hide its underlying complexities.

Robert Cooper, 2005.

Developing a constitutive nature within practices.

Qualitative Reseachers.

Entangled practices are productive, and who and what are excluded through these entangled practices matter, different intra-actions produce different phenomena.

It is in and through an understanding of these entangled practices presented by Barad that we can begin to understand how diffractive readings can help us in our work as qualitative reseachers to produce knowledge differently.

Interactions Matter.

Spatial Agency.

Walking 

Wayfinding in the City.

Thinking intra-actively.

Thinking with Barad's intra-action helps us fashion an approach that re-inserts the material into the process of analysis. It is a reclaiming of the material absent in its modernist limitations. It is the work of Karen Barad and other named as 'new materialists, or material feminists' to ask how our intra-action with other bodies (both human and nonhuman) produce subjectivities and performative enactments.

Such questioning shifts our thinking away from how performative speech acts or repetitive bodily actions produce subjectivity, but also how subjectivity can be understood as a set of linkages and connections with other things and other bodies, both human and nonhuman.

The Discursive Text/Material.

Phenomenology is interested in the now, what we see, how we perceive, and how those perceptions shape or come the world that is constitutive both of our environment and us.

The Keatsian concept of negative capability, that of being with uncertainty, of seeking to transcend and revise contexts, to reject constraints and open up dialogue as a throughfare for all thoughts, to ask questions and develop empathy.

John Keats 1795-1821.

Local artists and writers respond to the University of Winchester's

Magdalen Hill Archaeological Research Project.

On-site, co-directors Dr Simon Roffey and Dr Phil Marter talk about process.

A negative, destructive archaeology of taking away, of context sheets for a cut (negative) or a deposit (positive): how the processes are physical and sensory as well as interpretative, how their work is forensic, piecing together, visceral, more instinct than intellect, tactile and haptic, sculptural, revealing, never final, and as much an art as a science.

The Parallel Visions of Artists and Archaeologists.  

The artist's role here is to bring their own kind of knowledge setting aside logic and reason, to use the imagination and senses, to express through body and mind, the self, the messiness and uncertainty evoked by these material traces, mystery and wonder.

Colin Renfrew, Figuring It Out, 2003.

Spatial Diffractions in Interior Design.

A final diffraction is to think about how the office space itself creates a diffraction.

The office door, the opening, the threshold, can be viewed as the place through which waves pass, creating a diffraction.

This diffraction passes both ways: in inviting those who enter and those who fail to enter.

This opening further serves to reconstitute the office door as a threshold to be crossed, or as a threshold that welcomes. One invites, the other excludes.

We presented examples of how Sera and Cassandra were produced differently through intra-actions with office space, other bodies, clothing, and furniture, and similarly how their entanglement with these material fixtures resulted in a mutual constitution of the material and discursive.

It is through an enactment of a diffractive analysis and a re-thinking of our relationship to/with data, and to/with the material in our research sites, that we see much productive potential for research methodologists.

Project Spaces/Presentations.

Diagrams, maps and charts are all a symbolic depiction that emphasises mapping relationships.

Keywords: Agency, Spatial Agency, Practice, Making, Architectural Body,Relational Movements,Outreach, Urban Walking, Interactions, Cultivation Field,  Foraging, Finding, Gathering, Harvesting, Organism, Person, Environment, Anthropology, Archaeology, Art, 

Temporal Perspectives/Relationscapes : Urban Space and Place/Transactive Memory/Outpost Studio Space Norwich

Movement : Art : Philosophy : all a movement of thought that moves a body. Erin Manning

The Studio is no longer a retreat but it now integrates. It is all exterior. 

Ways of Curating, Hans Ulrich Obrist. 2014

Temporal Perspectives : Urban Space and Place

Space and Place

The Perspective of Experience

Yi-Fu Tuan

Experiential Perspective

Space, Place, and the Child

Body, Personal Relations, and Spatial Values

Spaciousness and Crowding

Spatial Ability, Knowledge, and Place

Architectural Space and Awareness

Time in Experiential Space

Intimate Experiences of Place

Attachment to Homeland

Visibility : the Creation of Place

Time and Place

for 

space

Doreen Massey

Living in Spatial Times

Instantaneity/depthlessness

A Relational Politics of The Spatial

Making and Contesting time-spaces

The Forum, Norwich : Research Outpost #2

RELATIONSCAPES

Movement, Art, Philosophy

Erin Manning

Prelude : What moves as a body returns as a movement of thought

Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.

Gilles Deleuze, Difference and Repetition

AN 

ANTHROPOLOGY

OF

LANDSCAPE

Christoper Tilley, Kate Cameron-Daum

Materiality

From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.

It forms a material medium in which we dwell and move and think.

Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.

Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.

Field Observations

Spatial relations within the landscape are complex.

The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.

Embodied Identities

Art in and from the landscape

Fragile Environments : Nature and Culture

On Ways of Walking and Making Art

A personal reflection

M Collier

Making art is a practical application of phenomenology 

Engaging  with an embodied experience of space and depth (what Merleau-Ponty called the 'flesh of the world').

WATERLOG

Journeys Around An Exhibition 

Landscape and Memory

AFTER SEBALD

Essays and Illuminations

Edited by Jon Cook

Transactive Memory

Systems Virtual Teams

The Body

Minds and Metaphors

Laban-CHOREUTICS

 

The Mind In The Cave

David Lewis-Williams

 

The Matter of The World

Minds and metaphors

Cathedrals of Intelligence

The 'Looking mind'

 

Information Processing and Performance in Traditional and Virtual Teams

The Role of Transactive Memory

Terri Griffith, Margaret A. Neale

 

Acquisition/Sharing of Implicit and Explicit Information

 

Organisations increasingly rely on teams to do much of the work traditionally accomplished by individuals.

Successful groups are those who are able to create synergies in the form of information aggregation and innovation that is beyond the ability of any single member.

 

Nascent Knowledge

Information Diversity

Task Conflict

 

The knowledge and perspectives of group members from the same social networks may be more redundant than diversified. However a total diversity among work group members is not desirable; some 'redundancy' (agreement in perspective) among group members is necessary to ensure enough common ground to facilitate successful group interaction.

 

Transactive Memory : Knowing and Accessing What We Know

 

For teams to have synergy they must be able to access their information, it is important to know who does what.

Wegner 1987; 1995)

 

RELATIONAL DEVELOPMENT

TIME

Synchronous/ Asynchronous

COMMUNICATION

 

Transactive Memory : A Contemporary Analysis of the Group Mind

Daniel M. Wegner

 

The study of transactive memory is concerned with the prediction of group (and individual) behaviour through an understanding of the manner in which groups process and structure information.

 

Individual Memory

Information is entered into memory at the encoding stage, it resides in memory during a storage stage, and is bought back during the retrieval stage.

 

Organisation : differentiated/ integrated

Label

Location

 

THE LABAN SOURCEBOOK

Dick McCaw

 

Rudolf Laban (1879-1958) was a pioneer in dance and movement, who found a extraordinary range of application for his ideas; from industry to drama, education to therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.

 

Diagram : Three Planes of Movement from Choreography

Inner and Outer Tension : Inner and Outer Form

 

CHOREUTICS : Principles of Dynamic Space and Movement

 

Choreutics presents the grammar and syntax of spatial form in movement and the nature of movement's harmonic content.

 

Effort

Exertion of Power, Physical or/and Mental

 

Force

Space

Time

Flight

 

Indulging/Contending

SPACE Flexible/Direct

WEIGHT Light/Strong

TIME Sustained/Quick

FLOW Free/Bound

 

Shadow Moves

An acute observer of Shadow Movement of a person in different situations and at different times will show the consistency of that individual's basic attitude and personality.

 

Effort and Recovery

Movement Psychology

Thinking

Intuiting

Sensing

Feeling

POST STUDIO

Daniel Buren 

Rem Koolhaas

The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.

Atlas of Emotion : Journeys in Art, Architecture, and Film. Giuliani Bruno

The Mobile Home

A space is something that has been made room for ... A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is ... joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge. 

Martin Heidegger. 'Building Dwelling Thinking'

House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.

The Voyage of Modernity, Guiliani Bruno.

Artist Statement re application for Outpost residency at Gildengate House, Norwich.

Using simple apparatuses (pinhole cameras) and the urban environment my practice gathers up time based evidence of everyday activities and render them into a surface of seamless abstractions. These surfaces prompt me to inquire into particularities of place, its after-image and our

subjectivity/objectivity of the photographic document that is itself permanently extracted from the flow of contexts. 

I am interested in bringing these speculative findings/sequences into the interior space and time/situation of an exhibition.

The photographic surface has a pathology of looking built into its aesthetic, it takes the urban fabric of human circulation and the built environment and articulates a poetic of isolated complexities. I am interested in finding these spaces and presenting them for further analysis.

Selected Images : Pinhole Photography with texts, Winchester Library, Millennium Bridge, London. 

Statement of Objectives

Set-up working environment, darkroom, space for large oil drum camera, drawing space and studio for the interaction of other creative/interested practitioners within the Gildengate House/Complex.

Mapping of possible 'sites' within easy reach of the studio, walking the city with the camera to gather both qualitative and quantitative material, building possible narratives and points of departure for further inquiry.

The apparatus of the camera and its functionary act as spatial protagonists creating a psycho- geographical rendering of found and experienced places, this material is returned to the studio to be drawn from and collaged into documents of working ideas.

A dossier of activities and their observations as wall drawings or book works, will begin to form the documentation of the inquiry and suggest possible innovative methods of presentation for exhibition.

Possible Artist's Intentions for the Conclusion of the Residency

I am keen to display the working environment of my practice, its processes and the visualization of my findings, this could be achieved as a working photographic installation, I am reminded of Mike Nelson's installation at the Frieze Art Fair 2006. Other thoughts around dioramas and projections that evoke the feeling of between spaces of the everyday. I feel confident that the residency itself will craft its own innovative response to the agency and inquiry of my activities with others.

Art Based Exhibitions/Working Projects/Collaborative Events/Workshops

 

Anthropological Entanglements : Strange Tools/An Anthropology of Landscape

Conversations, Collages/Walks and Creative Consciousness. 2018 

An exploratory approach into the archives of Waveney and Blyth Arts.

Setting up an inquiry that can become an opportunity for exploration, investigation and exhibition, as well as a place for mutual exchange and support.

Norfolk & Norwich Open Studios. 2018

Visual fine artist working with experimental photography, collage and interior design. 

Interior Design MA Degree Show, Farnham UCA. 2015

Presentation of “The Scriptorium” as a speculative learning environment, realized through collage, model making and digital technologies.

The Art Barn, Brockwood Park School. 2015

Design and exhibition of A level student's work, art books, textiles, drawings and paintings. 

Yard and Meter, 10 days Creative Collisions. 2013

Collaborative exchange between visual art and poetry. Cyanotype images used as a projection and inspiration for live poetry event and publication.

Angelus Gallery, Winchester College, Winchester. 2013

Setting up of a exhibition, artist's talk and workshop. Works displayed, large drawings, collage, artists journals and research material. 

This exhibition attempted to create dialogues between Fine Art, Studio Practice and Interior Design.

Negative Capability, The Link Gallery, The Hyde Artist's Group. 2012

Art and Archaeological study from the site of the Leper Hospital, Morn Hill, Winchester. 

Exhibition of large cyanotypes/anthropological forms and drawing frames with alternative photographic processes.

Back To Free School : Drawing out The Archive. Kilquhanity, Scotland. 2011

Speculative practiced based symposium, converted Pottery into a Camera Obscura, drawings and presentation of land art, pathways from sunrise to sunset.

10 Days in The City, Winchester. The Theatre Royal Winchester. 2011 

Dressing Room Installation, Darkroom and Studio Space.

Teaching Academy/Re-Imagining Learning, Brockwood Park School. 2011

Performed  alternative  learning  environments,  hidden  curriculum/architecture  without  architects  in  the library, walking/making/thinking in the landscape with clay.

Strong Voices/Interfaith part of Hyde 900. The Link Gallery, University of Winchester. 2010 

The Human Body, absences/presences. traces left through drawing and field chalk on paper.

10 Days at The Laundry, Winchester. Urban Fallow Project/Thinking Sociologically. 2009 

Large communal arts project organized by The Yard Artists and Winchester School of Art.

Developed a roving pinhole camera from a oil drum which was used as an apparatus and spatial practice from which to engage with other practitioners and members of the public.

Wolvesey Castle,Winchester, Live theatre, music and arts installations. 2007 Installation in the foundations and medieval drainage channels of the ruins.

Childhood “armada” oversized paper boats in restricted area, only accessed via raised viewing platform.

Hampshire Open Studios, Bramdean. 2006

Drawings, artist's books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).

Drawing Spaces : Picturing Knowledge (an interactive artwork) 2006 Hartley Library. University of Southampton.

Hampshire Open Studios, Bramdean. 2006

Drawings, artist's books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).

Artist Statement 2018

Curatorial Architectures/Assemblages

Spatial Practice could be a program and a site for a critical approach to social engagement and interdisciplinary collaboration.

Praxis could be the energy produced between combining research and creative embodiment as speculative strategies/assemblages.

The Reading Room

Materials and Objects in Social Space 

Spatial Practices in The Politics of Things

'Ordinary things contain the deepest mysteries'

Russell Moreton has developed a practice that continues to explore and build interests between the post studio operations of the contemporary artist and the new curatorial assemblages of the 21st Century. He is actively constructing research material that becomes transactive through interventions and installations that are in affect blurring art and the everyday rituals of creative enterprise. Through processes of almost anthropological mappings he attempts to create innovative and immersive exhibition formats that seek to engage a discursive audience.

Museum Director, Curator, Collector. Artist, None of that means anything anymore.

J. Rhoades. 1998

The Studio is no longer a retreat but it now integrates. It is all exterior. 

Ways of Curating, Hans Ulrich Obrist. 2014

Outpost Studio Application

Visual artist working with, drawing, alternative photographic processes and installation.

My contemporary practice utilises and explores the notion of creative working and learning spaces, I am interested in the ability that contemporary arts practitioners develop and craft a praxis between the practical aspects of their practice and its theoretical underpinnings/findinqs. I find these interior spaces and their unique subiectivities/ecologies to be the real value of contemporary arts production. My work seeks to explore and present these findings through, installations, workshops, drawings and photographic presentations.

I am currently developing ideas around immersive studio spaces/obiects/events that can act as catalysts/containers for my speculative researches into Gaston Bachelard's, Intuition of the Instant.

My reading of the text has opened up for me possibilities and thresholds that could be developed through installation, and spatial practices.

I am interested in using the studio space as both a speculative site that supports my practical experimentation and for theoretical research questions and contexts that may be further developed. The central urban location reflects my previous studio space in Winchester which allowed interactions through the fabric of the city and the social networks of institutions.

Selected Workshops and Short Courses 

Lost Wax and Kiln Fired Glass : Liquid Glass Centre, Trowbridge 2006. 

Pinhole Photography with Stuart Quinnell : Bradford on Avon 2005. 

Drawing Course with Michael Grimshaw : Winchester School of Art 2004-2005 

Mono Printing and Life Drawing : West Dean College 2002.

Life Sculpture with Les Johnson ; The Vine Centre Basingstoke 2001-2003 

Life Drawing : Adult Education Weeke Centre Winchester 1993-2003 

Photography Liquid Light with Yoko Matse : West Dean College 1998. 

Picture Framing, Box Mounting and Art Conservation, West Dean College 1995. 

Master Class in Glass Painting with Paul Quail: West Dean College 1987.

Russell Moreton a visual artist who uses simple gestures of drawn human traces gathered and presented amongst natural materials. Materials and processes are employed to further underpin our sense of place and time. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place.

Currently using trace outlines from the human body, together with cyanotype liquid as a process for registering natural plant forms and other involuntary/found objects. Drawings are further annotated with astronomical charting and research notes from the practice. Previous experience in ceramics, glass and the construction industry is promoting my work into the realm of architectural space.

Visual Substance : Inter-Subjective Encounters

 Outpost 090222

Architectural Body/Procedural Architecture

Organism/Person/Environment

Earth, House, Hold, Dwelling Places.

Unlike the sense of sight or hearing, only the sense of touch can discern space and time at once.

The skin as the harbourer of a subjects sense of touch.

Skin/Subjectivity becomes as flesh a connective tissue which both unites and divides.

The skin can judge time less well than the ear, and space less well than the eye, but it is skin alone that combines the spatial and temporal dimensions.

Maternal Skin/Subject Formation, Anzieu.

A Field in England : On the nature of Photography.

Between Art and Information.

Brought to Light : Photography and the Invisible.

The Visible/Invisibility between the potential of  things.

The Photograph and The Lacanian Mirror.

In which identity is constantly shored up and broken down, but also as a persistent space invested with the paradoxical qualities of intimacy and alienation, of proximity and utter detachment all through which an offer of an encounter is held out in invitation.

Inter-Subjective Encounters, a space in which the subjectivities of the artist and the spectator might meet and mingle.

The skin is the surface through which self and other are mediated.

The mutuality of touch itself is echoed by the skins structure, it both touches and is touched and this duality is reflected in the way the skins surface is exposed to the outside world, whilst also protecting and containing the unseen interiority of the body.

Harriet Katherine Riches, 2004.

Light and Spaces of Intersubjectivity.

Tactile Light.

The photograph holds out the promise of an encounter through its carnal medium.

For Riches, the self-representational photograph becomes a kind of veil or mask, a displaced surface whose skin-like relationship to the subject is always suspended, and perpetually deferred. It frames a space of contact and a fantasy of union with the original subject, the photograph's skin-like quality also enables it to be imagined as an inter-subjective space of exchange.

Light creates the spatiality/transitions that passes beyond subject/object relationships.

Skin/Surface/Subjectivity : Movements in thinking through Spatial Agency

Skin becomes a site of symbolic acts of aggression/gesture.

Surfaces of suggested pain/experience through which subjectivity is created.

Conduits of colour specificities and counterpoints

Relationscapes : Movements, created through colour temperature and spatial contact.

The phenomena of things being brought into perception/focus.

Through a body every colour creates movement and has its own/creates its own perspective/its mapping/layering/extension of spatial temporal material.

Analogies/Difference : Spaces created through mimesis,wavelengths intermingling with the spatial.

Glass/Lead/Filtered Light.

Glass Slide/Subjectivities brought into the light

Colour Subjectivities, the appearance/experience of mattering material.

Painting/Studio Practice : Micropolitics of slowness and repetition

Indexical Patterning/Painting : Affective Relational Intensities 

Micropolitics of slowness and repetition

Pattern and Chaos/Liminality/Tectonics

Architectural surface for a Library,  raw materials, light, silence and solitude.  

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

Guattari, 1995 :25

Vessels that resist unbeing made