Drawing/Building Scripts : Collage/Photography

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre-spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 

Reading Project/Emergent Evolutions/Small Perceptions : Waverley Abbey/Architectural Body

Relationscapes : Erin Manning.

Perceptions in Folding.

Contrast is the activity of foregrounding or backgrounding that makes certain qualities stand out, creating what Whitehead calls emergent evolutions.

Contrast in Whitehead does not mean the equal juxtaposition of two extremes. It is 'that particularity of conjoint unity that arises from the realized togetherness of eternal objects' (Whitehead 1929/1978, 229).

Emergent evolutions are the individuation of relational fields composed by the activity of small perceptions folding.

Small perceptions are like what Arakawa and Madeline Gins call imaginary landing sites.

Small perceptions are as much the passage from one perception to another as they are components of each perception.

Deleuze.

Collage Cinema : Tarkovsky : Andrey Rublev the painter-monk.

 Material/Media : Landscape of Sculptural Concerns

The Scriptorium : Collage and Architecture

Theatre for Speculative Research/Architectural Model

Russell Moreton

UCA Interior Design MA

https://visualartpractices.wordpress.com/

http://russellmoreton.tumblr.com/

"into a universe of creative enchantments" Guattari

 The French thinker Felix Guattari, in a powerful historical essay, has asked some fundamental questions about the direction in which the century and its achievements in technology are taking us; he calls for a new vitality in the relations between individuals and the language of the culture they inhabit:' Unconscious figures of power and knowledge are not universals. They are tied to reference myths profoundly anchored in the psyche, but they can still swing around toward liberatory paths/voices.' He too sketches the possibility of a utopia, dreaming of 'transforming this planet - a living hell for over three quarters of its population - into a universe of creative enchantments'.

Marina Warner, From the Beast to the Blonde (p418)

Russell Moreton Pastoral Shelter : Waverley Abbey/Kengo Kuma

https://www.flickr.com/people/russellmoreton/

Architectural Collage/Visualization

Russell Moreton Survey Landing 001

Aerial, historical architectural plan (Photogram Waverley Abbey)/Google.https://www.flickr.com/photos/russellmoreton/24512167579/in/dateposted-public/

Russell Moreton Openings and Conclusions 6

https://uk.pinterest.com/russellmoreton/

Collage on paper,written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK.Visual research as part of The Waverley Project/Obscura and Reading Room. 

On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual.

Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg

Flattened Inscriptions : Drawing into the ecology of place

http://www.ipernity.com/doc/russellmoreton/40848104

Drawing Scripts, Collage:Architecture, Performance and Photography.

https://www.flickr.com/photos/russellmoreton/