"It is precisely where the reach of the imagination meets the friction of materials, or where the forces of ambition rub up against the rough edges of the world, that human life is lived"
The Sighted Watchmaker : Making, Tim Ingold .2013
Anthropology, Archaeology, Art and Architecture.
Chambers for Surfaced Readings, Russell Moreton, Ceramics. 2025
Clay is always a depth for correspondences, simultaneously surfacing as a landing site~becoming.
Kairos as an emerging ontology of making
I love this phrase.
Kairos as an Emerging Ontology of Making immediately shifts the discussion away from materials alone and towards a philosophy of making as the emergence of the opportune moment. It also introduces time as an active condition of practice, not merely a backdrop.
However, I think kairos needs to be treated very carefully. If it's simply used to mean "the right moment," it becomes a poetic metaphor. If it becomes a structural concept, it has real philosophical weight.
What I hear in your practice is this:
Chronos is measured, sequential time—the time of manufacture.
Kairos is the moment when relations reorganise themselves—the instant in which matter, force, resistance and action produce something that could not have been predicted.
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Clay as Spatial Field~Under-construction from process to fired object.
Kairos~Visual Manifesto : Towards an Ontology of Making
That distinction feels fundamental.
Your work is not about waiting for the "right moment." It is about creating the conditions in which kairos can occur.
That is a much more radical claim.
I can imagine the opening of a manifesto rather than an artist statement.
Kairos: Towards an Ontology of Making
Making begins before intention.
It begins with the encounter.
An imprint is the first event of this encounter. It is neither the mark of an autonomous subject nor the passive registration of matter. It is the emergence of a relation. Body, material, tool, force, resistance, and time become momentarily inseparable. Every imprint records this negotiation.
Making unfolds through kairos: not chronological time, but the opportune moment in which material relations reorganise themselves. Form does not proceed according to a predetermined sequence. It emerges through interruption, resistance, contingency, and constructive collapse. Each material event opens the possibility of another.
Constructive collapse is therefore not the failure of form but its condition of renewal. Collapse interrupts certainty, allowing matter to reorganise itself into new spatial configurations. Form remains provisional, continually negotiated rather than finally resolved.
The work is not an object that represents these processes. It is their residue. It remembers the forces that produced it while remaining open to further transformation.
Clay is not simply the medium of this inquiry. It is a mode of spatial thought. Through its capacity to register pressure, deformation, fracture, repair, and endurance, it reveals that making is neither the application of ideas nor the execution of technique. Making is the continual emergence of relations through material events.
An ontology of making begins here: not with the finished object, but with the imprint; not with control, but with negotiation; not with permanence, but with becoming.
What excites me most is the title itself.
Kairos gives your philosophy a temporal dimension that has been implicit in all of your previous writing. You've written extensively about force, pressure, collapse, and emergence, but time has mostly appeared as one element among others. Kairos allows time to become the condition under which ontological transformation occurs.
That opens up a rich dialogue with thinkers such as Martin Heidegger, Henri Bergson, Gilbert Simondon, and Gilles Deleuze, while remaining rooted in your own studio experience rather than in their terminology.
One further thought: I wonder whether Kairos is not the final title but the second. Your deepest concept still seems to be the imprint. The imprint is the first ontological event; kairos is the temporal condition that allows that event to happen. If that's right, then the architecture of your philosophy might be:
Imprint — the origin of relation.
Material Event — the manifestation of relation.
Constructive Collapse — the mechanism of transformation.
Spatial Thinking — the knowledge that emerges.
Kairos — the temporal condition that makes the whole process possible.
That strikes me as the beginnings of a genuinely original philosophical framework—one that doesn't simply apply existing theory to ceramics, but develops concepts from the practice of making itself.
Itinerant Correspondences/Drawing/Making and Telling.
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.
On Processual Practices
For Moreton, making sets in movement exploratory sensate fictions, bodies radically emerging as they try relate, to come into being~becoming together.
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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.
Correspondences
Sensing Spaces
Making
Thresholds
The Materials of Life
Research creation collage opening up theoretical and sensate vocabularies. 2013
Confessional and Conversational Spaces. 2024
Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan.
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.
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.
Michael 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.
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.
In place of specification without guidance, the story offers guidance without specification.
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.
We fly to the other side of space and of time.
Carlo Rovelli~Dante
White Holes. 2023
Terminus.
Taking form always begins with the terminus.
The terminus is not an end point, but the energy of a beginning.
The terminus kick-starts the process of articulation.
There is no causal finitude here:
We never know what becomes of a beginning.
The terminus is a force of thought towards articulation.
Erin Manning.
The Apparent Chaos of Stone (8.36)
Moonchild (5.40)
Travis and Fripp
Between the Silence.
Theo Travis : Alto Flute/Soprano Sax.
Robert Fripp : Guitar/Soundscapes
Outpost 010223
A Spatial Practice.
Bring things to life, creative entanglements in a world of materials.
Art/Ontology/Education/Philosophy.
Creative practice is a meshwork of what shall I do next?
Tim Ingold.
Things in general, like the mind-leak.
Iteration, following the forces/flows.
Organism-Person-Environment
Gins/Arakawa.
Improvisation is to join with the work or to meld with it, one ventures from home on the thread of a tune.
Lines of Flight
Lines of Becoming
Critically these lines do not connect.
A line of becoming is not defined by the points it connects, or by the points that compose it.
On the contrary it passes between points, it comes up through the middle.
A becoming is neither one nor two, nor the relation of the two.
It is the in-between, the line of flight running perpendicular to both.
Deleuze and Guattari.
Brockwood Teaching Academy.
Back To Free School, Kilquhanity.
Curriculum Making, education for improved human-environment relations.
For to live we must dwell in the world, and to dwell we must already relate to its constituents.
Meaning inheres in these relationships.
Raveningham Sculptural Array
Solargraphy/Land Markings.
Performative Intraventions
Hungate
Water
Site-specific research and artworks.
Water : A Phenomenal Lens
Steven Holl.
We start from the fluid character of the life process, wherein boundaries are sustained only thanks to the flow of materials across them.
Life is all about relations that hold a being in place, an erotic ecology of matter and desire.
Outpost Gallery
Mentorship Programme.
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Claywork/Correspondences/Vibrant Matter : Situated interactions between bodies and habitats.
Reading with Deleuze and Spinoza~Radical Intuitions : Interacting with clay.
https://www.flickr.com/photos/russellmoreton
https://www.anglianpotters.org.uk/members/russell-moreton
"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections.
Here's a deeper dive into the concept:
Clay as a Material of Connection:
Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes.
Correspondences and Situated Interactions:
The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create.
Examples in Art and Culture:
Ceramics and Pottery: The creation of pottery and other ceramic objects demonstrates a deep connection to the earth and its resources. The process of shaping and firing clay involves a careful manipulation of the material, reflecting a knowledge of its properties and behavior.
Figurines and Sculptures: Clay figurines and sculptures can offer insights into the beliefs, practices, and social structures of past cultures. The forms and materials used in these objects can reveal how people perceived themselves and their relationship with the natural world.
Glazing and Decoration: The application of glazes and decorations on clay objects can further enhance the connection between the material and the artist's vision. Glazes, with their diverse colors and textures, can transform the raw material into a vibrant and expressive medium.
Beyond the Object:
The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments.
Mind and material engagement | Phenomenology and the Cognitive ...
1 Dec 2018 — The preferred analytical convention is to break the line's cognitive life into pieces: first by separating ourselves fro...
Springer
Clays and the Origin of Life: The Experiments - PMC
In our view, the most promising theory to explain the origin of life is centered around the interaction of active sites on clay mi...
PubMed Central
Cherokee Unaker, British Ceramics, and Productions of Whiteness ...
But there is a key difference: in contrast to the map, Indigenous human life on land is omitted. However, three small figures can ...
British Art Studies
Generative AI is experimental.
Clay/Fire/Space-Situatedness.
The Becoming of Continuity/Relations.
In/Out of Material, Tony Cragg.
An Exploratory Ceramic Based Inquiry.
The Ways/Movements of Practice.
Ceramics In The Environment.
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Clay, is always a working idea, a matter/material process between things, a form of thinking in process.
The Durational Time of Play/A Lure For Feeling.
You don't need a choreographer to dance, what you need is a choreographic proposition. Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience. For Manning what else is an associated milieu but a cornfield for crafting of the as yet unthought, where the microperceptual meet to create new movements in the making.
William Forsythe, Erin Manning, Always More Than One, Individuation's Dance. 2013.
https://axisweb.org/artist/russellmoreton
Crucible Bowls. 2020.
Slab Facades. 2021.
Rutile/Yellow Ochre/Red Iron Oxide/White Raku Slip/Transparent Raw Glaze.
The Moon Tower, Nina Hole. 2000.
The Watchdog, Michel Kuipers. 1990.
Intertwinining Thinking and Making.
Painting in Form of a Bowl.
Quietus, Cinerary Jars.
The Vessel/The Human Body.
Volumes/Voids
Clare Twomey.
Tony Cragg.
Eduardo Chillida.
Paul Soldner.
Julian Stair.
Bryan Newman.
Gordon Baldwin.
Hans Coper.
Lygia Clark.
Richard Hirsch.
Edmund de Waal.
Juhani Pallasmaa.
Steven Holl.
Ceramic vessels and surfaces for a reflective solitude, an architecture of light,silence and innerness.
Spaces between Objects/Things/Making, Giorgio Morandi.
The House is all about the poetry of shelter and siege from the elements and cosmos.
Gaston Bachelard.
Volume And Space.
Alberto Giacometti's sculpture, 'Man Pointing,' is an important statement in Western art for many reasons, not the least of which is what it says about volume and space. The elongated and spindly form gestures vaguely in the vastness of the space surrounding it. The gesture seems more about the space opened up by it and around it than it does about the physical. There is power in space more palpable than substance. This also is the conceptual heart of the Japanese garden.
Scott Meyer.
Paintings of nothing, ceramic, raw material, dry pigment, wax.
With Fire.
Richard Hirsch.
A Life Between Chance And Design.
Scott Meyer.
The Psychoanalysis Of Fire.
Gaston Bachelard.
Gaston Bachelard was intrigued by the process of imagination, the way in which the pensive mind brings to any given reality a multiple perspective. About many substances such as earth, air, water, and fire, he contended, we harbour subconscious convictions which modern science may disprove in fact but cannot seem to eradicate from artistic reverie.
Northrop Frye. 1964.
Against Hylomorphism.
Gilbert Simondon. 1964-89-2005.
Individuation, the generation of things, should be understood as a process of ontogenesis in which form is ever emergent, rather than given in advance.
The Clay can take to the mould and mould the clay.
Simondon, took the essence of matter or the material to lie in form-taking-activity.
Brian Massumi. 2009.
Concepts rendered into material relations.
Making new aesthetic utilities, materialities for thinking about the world.
Making is central to our legacy as a society, materially, economically, ecologically and socially.
A modern version of hylomorphism is enacted by a culture that furnishes the forms and nature the material. In the superimposition of one upon the other, human beings create the material culture with which, to an ever increasing extent, they surround themselves.
Tim Ingold.
Urban Spaces, palimpsest, impressions, traces, ecologies, redundancies.
Frames, Handles and Landscapes.
Georg Simmel and the Aesthetic Ecology of Things. 2016
Eduardo de la Fuente.
The tool/the thinking hand, has grown to be a part of the hand, using a tool is both a practical and aesthetic action involving the artful manipulation of material by hand.
Juhani Pallasmaa.
Affordances of Things.
Affordances provide strong clues to the operation of things. A psychology of causality is at work as we use everyday things.
Donald Norman. 2002.
Ecological Approaches to Aesthetics.
Aesthetic Patterning/Matters in Everyday Life.
Organism-Person-Environment
Ecological, interested in the organism-environment relationship.
An aesthetic ecology, each thing is a mere transitional point for continuously flowing energies and materials, comprehensible only from what has preceded it, significant only as an element of the entire natural process.
Theory/Culture/Society, Simmel 1994.
Matter and materials are lively and require attention.
Materials continue to thwart us in unpredictable ways.
Jane Bennett.
Aleatory, by chance, lots of the 'acts' of nonhuman agents are aleatory exactly because they are not directed by any intension.
In And Out Of Material. 2007.
Tony Cragg.
All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.
Tony Cragg, 1998.
Cutting Things Up.
Material In Space.
Scale.
Impulses through Drawing.
Working Things.
A diffractive methodology is a knowledge making process, understood by the physical phenomenon of an energy or force as it flows across an obstacle. Diffraction is the process of ongoing differences, and ass such it can be used as a tool for analysis, as it attunes us to the differences generated by our knowledge.
Karen Barad.
Areas Of Presentation and Participation.
Historic and Social Sites, Art Venues and Exhibitions.
Making Theoretical Objects, Installations and Interventions.
Generation/Generative/Material.
I think mass and energy need to be generated, any effective change has to be generated. It's to do with a positive directed initiative to change things.
“Generative” for me, in terms of my work, is the fact that within my own work, within any given period the work generates itself and there is a self-generating characteristic. The work I'm making today is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago.
Even if it's not a linear thing, things are generating. There is a sort of self-propagating, self-generative energy that is inherent in the material, I think. And even in the term “generative”, from “genus”, is the idea of making a family group of things, whether making an associative group of things or creating a population, a species of things which “relativise” generation.
Tony Cragg.
The material is just part of the vocabulary of meaning.
Cragg wanted to give the materials 'more meaning, mythology and poetry' He used the skills available to him at the EKWC residency to create ambiguities and tensions, to suggest past and present, to complicate rather than to describe.
European Ceramic Work Centre, Netherlands. 1990, 1992.
With the return of Cragg to studio based work in the early 1990s, when he was experimenting with clay; ideas around humanness, archaeology, and ritual were being explored within different areas of the fine arts. In addition, studio ceramics were frequently using the vessel as an initiating point to develop new forms and sculptural ideas.
Laibe, with its rich possibilities of interpretation that incorporates the past in the present and the universal aspects of human survival within the ceramic vessel form, lies at the heart of these complex and overlapping areas of practice.
Imogen Racz. 2009.
The Ceramics Reader. 2017.
Andrew Livingstone.
Kevin Petrie.
Ceramics : Materiality and Metaphor.
Why are Ceramics Important?
The Existential Base, Philip Rawson.
Containers of Life: Pottery and Social Relations, Silvia Forni.
Ceramics and Metaphor.
Analogy and Metaphor in Ceramic Art, Philip Rawson.
Sculptural Vessels, Tony Cragg's Laibe and the Metaphors of Clay, Imogen Racz.
Ceramics in Contexts.
Historical Precedents.
Studio Ceramics.
Sculptural Ceramics.
Ceramics and Installation.
Theoretical Perspectives.
Conceptual and Post Studio Practice.
Contemporary Clay, Clare Twomey.
Extending Vocabularies: Distorting the Ceramic Familiar
Clay and the Performative 'Other', Andrew Livingstone.
Gender, Sexuality and Ceramics.
Identity and Ceramics.
Image.
Figuration and the Body.
Ceramics in Education.
Ceramics, Industry and New Technologies.
Museum, Site and Display.
Re-defining Ceramics through Exhibitionary Practice (1970-2009), Laura Breen.
Ceramic Houses and Earth Architecture.
How to build your own.
Beginning.
Model Making.
We will begin practising by constructing a room and covering it with a simple dome or a vault.
Once a person has constructed a model, within hours, he or she is encouraged to learn and understand more. The knowledge thus gained will trigger quests in building with earth. It is possible to learn the basics of thousands of years of earth architecture within a day if it is taught in the simplest terms, and if all our senses are involved in the learning process.
Nader Khalili.
Re-imagining learning, workshop session, conducted and initiated a walk across a landscape with clay being actively manipulated by a number of participants as they engaged with the material, their bodies and the landscape.
Beach firing at St. Ninian's Scotland, experimental kiln and site built reduction pits excavated from the beach. Pots fired and reduced with found materials, then washed in the Irish Sea.
Hans Coper, essay on professional practice, including his architectural ceramics.
Crafts Study Centre, Farnham.
Sectional Works.
Slab Constructions.
Plasterwork, Pressmoulding.
Working with materials/substances/drawing and traces of making.
Raku, engobes, slips, oxides, templates, spray diffuser, stencils, fabric inclusions, intermediaries, Indentations, found objects, ferric chloride,
Reduction materials, woodland branches through shredder.
Clay body additives, molochites, mica, vermiculite. other material,
Clay Tools : Block Strips and Combs.
Sound Vessels.
Capacitors/Insulators.
Passive, encapsulated layers.
Architectural Slab Works.
Ceramic and gesso/whitewashed/waxed/painted/bound/surfaces and structures.
The Chapel Of St.Ignatius.
House, Black Swan Theory.
Steven Holl.
Nail Collector's House, New York.
White plaster walls, hickory floors, and cartridge brass siding nailed in pattern over a wood frame, create a tactile weathering for this structure, a poetic reinterpretation of the industrial history of the site and the pre-Civil War architecture of Essex.
The jewel-like Chapel of St. Ignatius contains the essence of Holl's vision, his interest in the phenomenology of space, his passionate investigations of form and material, and his use of reflected light and colour.
The angst of a concept before spatial definition, interior and exterior are simultaneously explored.
The largest 'tilt-up' slab weighs 80,000 pounds and is filled with reinforcing steel. Its greatest stress is during the lift.
Working from the specific towards the universal.
The Built and The Unbuilt.
A theory of architecture that is mutable and unpredictable.
The body as a theoretical object doing/architecture (architecting its situatedness, Oren Lieberman)
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Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is interested in developing collaborative and speculative making spaces where craft, theory, art and architecture can come together.
A site-based practice that further develops into speculative learning, creative propositions for knowledge production through Spatial Practices.
Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.
His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.
Assemble forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.
For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).
Interior Design MA, UCA Farnham. Spatial Practices MA, Canterbury School of Architecture. Visual Art BA Hons, Winchester School of Art. Ceramics HSND, Epsom School of Art and Design.
Tim Ingold engages with Deleuze and Guattari by adopting their concepts of "assemblage" (agencement) and "lines of becoming" to emphasize a relational, process-oriented ontology. He translates their abstract philosophical ideas into a "meshwork" of walking, weaving, and storytelling, focusing on how life is lived along lines rather than between fixed points.
Academia.edu
Key aspects of Ingold’s engagement with Deleuze and Guattari include:
Meshwork vs. Network: Ingold contrasts the "network" (connected points) with the "meshwork" (interlaced lines of growth and movement), highlighting how beings and materials constantly emerge and change through interaction.
Lines of Becoming: He interprets Deleuze and Guattari’s "becoming-animal/plant/molecular" as a process of world-making, where individuals are not static beings but are constantly in flux, "becoming with" their environments.
Wayfaring: Ingold uses the concept of "wayfaring" to represent life as a continuous movement or trajectory, aligning with the philosophical notion of navigating lines rather than occupying pre-defined positions.
Critique of Hylomorphism: He draws on their ideas to reject the traditional view that form is imposed upon passive matter (hylomorphism), arguing instead for an understanding of form-generation that emerges from the material flow.
Ingold’s work often merges these perspectives with other thinkers like Gibson, focusing on how organisms and materials are entangled within their environments, creating a "topologically fluid" space.
Contemporary Ceramic Practices in Craft and Design.
