13/10/24
Painting/Assemblage/Ceramics.
Ceramic Vessels on Site Specific Ground.
On the sensorial nature of creative inquiry
Indexical markings into the aesthetic realm between objects.
Making With Clay.
https://www.flickr.com/photos/russellmoreton/
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Relationscape between organism-person-environment.
Architectural Body.
Arakawa/Gins/Manning
A Species of Spaces
The Social Turn
Museum Site and Display
Political Philosophy
We have all the choice in the world in terms of products, but very little choice in terms of the kind of economy within which those things are made, accessed and used
Whose Economy Reframing the Debate After Neoliberalism Doreen Massey
Other 'material interventions' and the revaluation of making through strategies of repair and maintenance
Making Ecological Politics
A world teeming with impulsive movements, deviations and many other lively (capacious) materialities Influences that pervade, enable, and disrupt us
Vibrant Matter, Jane Bennett
Makers work in a world that does not stand still
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Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations
Tim Ingold 2010
Making is central to who we are as individuals, what we make as part of everyday practice forms our identities and place in the world
The mundane experience of making, and thus of labour, is resolutely political, a geographical imperative, and a critical means of operating a meaningful relationship with this material life The Quarry as Sculpture : The Place of Making
D A Paton 2013
The making of a building does not stop when the building work is (temporarily) finished. But only really begins upon occupation, when the work commences of maintaining the buildings integrity against an onslaught of willfully destructive elements, insects, rodents, fungal infestations, corrosion, damp, harsh sun, water, wind
Evocative Thoughts on Building, Alvaro Siza
The social life of making
Making good is about maintaining continuity with the past, in the face of efforts to rupture that continuity.
The need for repair is a remorseless and necessary process that keeps society ticking over.
Posted by Russell Moreton on 29 May 2022
IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.
RAVENINGHAM SCULPTURE TRAIL 2018/2020
STIMULATING TENSIONS.
BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.
Mediating/Architecting the experience of LANDSCAPE.
The building as nothing more than an exposition of itself.
Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.
A subjective hypothesis, a drawing developed into an objectivity for experience/learning.
SITE, the undoing of PLACE.
The House-sheds : Camping
There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.
Roger Deakin
WILDWOOD
A Journey Through Trees
Art Practice as a Speculative Spatial Practice.
A reflective building is an echo not a statement.
Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.
The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard
The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.
The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.
SENSING AND SPATIAL PRACTICE.
Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.
CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.
Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.
Sociological aspects of the Arts
Archaeology, Anthropology, Architecture, Art, Tim Ingold.
A FIELD GUIDE TO GETTING LOST : Rebecca Solnit
Experiential anthropology / Walking as 'being/becoming in place'
Sensate, Sensing Sensuality, Otherness.
WHITEBOARD : PAVILIONS/RAVENINGHAM
Art as Contemplative Practice : An Applied Praxis/Inquiry
Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”
Subjective Hypothesis Bricolage/Tectonics/Making.
Poetic Abstractions/ Components, Elements
Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself
Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations
Knowing Through Making/ Embodying Insights, Tim Ingold
MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention
PLACES that transform Chaos into Cosmos, Karsten Harries
PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.
Socializing a Sculptural Practice, Jack Robins 2015
Strange Tools, Art and Human Nature, Alva Noe 2015
Visual Tool, Post Studio, Daniel Buren
INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud
Handmade, Repetition, Empirical, Experiences.
Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)
Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image
Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention
Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion
Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :
Taskscapes/Relationscapes
Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts
Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics
EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS
A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience
Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material
STATIC ENVIRON I ANIMATED THROUGH THE BODY
THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /
VISUAL TOOL / POCHOIR, hand coloured through stencils
SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression
TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.
Concerned with bringing the material from its physical form into the meta-physical world.
PAVILION
FUSELAGE
THE CAMP/HUT
represents the true reality of things, Deakin.
MOBILITY MOVEMENT
TEMPORAL CONSTRUCTED SPACE
A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.
MAKING, from form to programme.
WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM
AUDIT OF NOTE FRAGMENTS 27 August 2018.
Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,
Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things
Diffractive Practices : Agential Cut, Barad, Learning Spaces,
Brockwood Park School. Reimagining Education
In The Cave/Canvas of the Cave
ART. began with the questioning of the involuntary, trace of a human hand, an otherness.
Moments, Nowness, The Instant, Actuality,
Habitus of Difference
Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.
Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze
Research Horizons,
Culture drives growth, wellbeing, social enterprise and community
Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,
Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,
Everyday aesthetics, heuristic practice,
Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)
Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind
Walking creates its own feedback loop, The Journey, The Return,
The specific, Here and Now
Psychogeography, Dossier, Forensic Study, Inquiry.
Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice
Walks as erasures, sedimentation, (Gardiner)
Getting Lost, Walking whilst deep in thought/embodiment in the environment
Working Towards a Secular Retreat in the Landscape
Between PLACE and SITE.
Art Making Agency/Spatial Agency.
Art Poverva, Materiality, Agency, Making, Nesting Building,
NASCENT FINDINGS
Encoding DATA, LANGUAGE
Entanglements of Visual Data and Abstract Language
CATHEDRALS OF INTELLIGENCE
The Urban Documentary,Text, Sebalt,
The River : The Colour of Light
Albers/Colour Perceptions
Vernacular Architectures, Building/Making beyond the design
Footings, Voids, Roof Structures, Cavities, Between Walls.
Sensing Spaces in the very making of the building.
The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.
TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,
Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture
Mies van der Rohe
The Art of Sculpture
Moholy Nagy
The New Vision Abstract of an Artist
Light brings the moment in time to us
Presence, Praesentia, exactitude of light on place and time.
LAND, LANDSCAPE, CLAY
Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives
Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage
Aesthetics of the Everyday Creative, Human Praxis
Supportive Material/Texts/Cyanotype Drawings from found objects
SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax
AFFECT
SENSATION / CAUSALITY LIVING
THINKING LOOKING
DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD.
A Land, J Hawkes.
FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness.
PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.
COLOUR AS CONDUIT.
PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION
PIERCED /DAPPLED NATURAL LIGHT
DIFFERENTIATED SHADOW /SURFACE
EXTRAORDINARY MATERIALS.
TECTONICS AND TEXTILES.
INDEXICAL /GESTALT / VISUAL PERCEPTION
NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan
ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY
IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS
MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.
Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.
Tidbury Ring, field drawings with cyanotype liquid on paper.
A Hut of Ones Own. Heidegger for Architects.
Immaterial Architectures.
SENSING AND SPATIAL PRACTICE
EXPLORING THE LANDSCAPE
Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.
STATIC ENVIRON / ANIMATED THROUGH THE BODY
THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /
VISUAL TOOL
SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression.
TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.
PAVILION / FUSELAGE
THE CAMP / HUT
represents the true reality of things, Deakin.
The building as nothing more than an exposition of itself.
A subjective hypothesis, a drawing developed into an objectivity for experience/learning.
SITE, the undoing of PLACE. (Casey)
BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.
DWELLING / MOBILITY / MOVEMENT IN THOUGHT
TEMPORAL CONSTRUCTED SPACE
TETHERED FOLLY against a fabric of time.
ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds
Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.
Bought to Light
Photography and The Invisible 1840-1900
CURATORIAL / DEVICE / BENCH / INTERLOCATOR
Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.
Making spaces, expanding vision to create spaces 'between' in which to write ourselves.
CONTEXT AND CONSIDERATIONS :
ART MUSEUM CULTURE
THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.
MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST
None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.
THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE
INVENTORY or DATABASE.
Immateriality/Temporal/Transitions material and movement/Human agency
A Species of Spaces.
Construction/Making/Collage
Forming, slowness and repetition, elements of painting
Assemblage, sensation, surface, objects and spaces between them gathered/thresholds
Sheltering/Weathered/ Exploring a fragility of a painting in the landscape
Robert Mangold, Paintings and Architectural Forms
Fragments from sketchbooks.
Ephemeral Architecture
Canvas as spatial verb
Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.
Canvas as folded construction/shelter/place
Operative Design, A Catalogue of Spatial Verbs.
Outpost 260823
Clay-Drawings at Bayfield.
Observatory/Propositional Assemblage.
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Animacy, surfaces/things that have opened up their surroundings.
The living body is only sustained thanks to continually taking in materials from its surroundings, and in turn discharging them, in the processes of respiration and metabolism.
Yet as with pots, the same processes that keep it alive also render it forever vulnerable to dissolution. That is why constant attention is necessary, and also why bodies and other things are poor containers. Left to themselves, materials can run riot. Pots crumble; bodies disintegrate. It takes effort and vigilance to hold things together, whether pots or people.
Bodies on the run, Tim Ingold.
Itinerant Correspondences/Drawing and Telling.
Thinking From Things.
To think from materials, to find the consciousness or thought of the matter-flow.
Deleuze and Guattari.
The living work of art, however, is not an object but a thing, and the role of the artist is not to give effect to a preconceived idea but to follow the forces and flows of material that bring the work into being. To view the work is to join the artist as a fellow traveller, to look with it as it unfolds in the world, rather than behind it to an originating intention of which it is the final product. The vitality of the work of art, then, lies in its materials, and it is precisely because no work is ever truly 'finished' (except in the eyes of curators and purchasers, who require it to be so) that it remains alive.
Tim Ingold.
The Telling of Stories is an Education of Attention.
Making Through Anticipatory Foresight.
To tell, in short, is not to explicate the world, to provide the information that would amount to a complete specification, obviating the need for would-be practitioners to inquire for themselves.
It is rather to trace a path that others can follow. Thus the hunter, educated in stories of the chase, can follow a trail; the trained archaeologist can follow the cut; the competent reader can follow the line of writing. Making their ways in the company of those more knowledgeable than themselves, and hearing their stories, novices grow into the knowledge of their predecessors through a process that could best be described as one of 'guided rediscovery' rather than receiving it ready-made through some mechanism of replication and transmission.
Tim Ingold.
In place of specification without guidance, the story offers guidance without specification.
Sensing Spaces
Making
Thresholds
The Materials of Life
Are you interested in the idea of threshold?
What is interesting in the world are the grey areas. So what I have designed is a threshold. It's not possible for an architect to design a space – such a concept does not exist. Instead, we design the thresholds and the limits: the walls, windows, doors and so on. And people have feelings about these elements and put them together and create the sensation of a space. I'm interested in designing the elements that give the impression of a space – which is why I like doors.
The dialogue between the container and the contained, the boundaries and the space within them, is an obsession in contemporary culture, where the node is more important than the object. That's why architecture must work at the limits, not invent the shape and language but straddle two worlds, on the knife edge.
A door is usually part of a wall, but you have extracted this element from the wall.
Kate Goodwin, Alvaro Siza. Sensing Spaces. 2014.
Telling By Hand.
The Humanity of the Hand.
The Eyes of the Skin.
Jacques Derrida holds that the proper function of the eyes is not to see but to weep. Behind the veil of tears that blurs the vision of the sighted, the eyes can tell of grief, loss and suffering, but also of love, joy and elation. Even the blind can weep.
Figure 2.3 Consciousness, materials, image, object: the diagram
Making/Flow of Consciousness/Materials into and across Image/Object
Experience can only be understood between mind and body or across them in their lived conjuction.
Merleau-Ponty.
Telling By Hand.
The Tacit Dimension : That we can know more than we can tell.
Polanyi is primarily interested in what it means to know, his reflections of personal knowledge assume that telling is tantamount to putting what one knows into words, in speech or writing, and that this entails two things: specification and articulation.
Michael Polanyi.
Tim Ingold, interested in 'performativity' what it means to tell, going beyond the 'predictive' nature of what it means to know.
Ingold argues that we can tell of what we know through practice and experience, precisely because telling is itself a modality of performance that abhors articulation and specification.
The figure of the silent craftsman who is struck dumb when asked to tell of what he does, or how he does it, is largely a fiction sustained by those who have a vested interest in securing an academic monopoly over the spoken and written word.
Specifications provide information about the specified, about the materials to be used, about parts and their dimensions, about movements to be made. They define a project. But stories issue from moving bodies and vital materials, in the telling. They lay down an itinerary. It is precisely because both their knowledge and their practice have the same itinerant character that ,in storytelling, practitioners can bring them into correspondence with one another.
