Outpost 100823
The Dialectic Of Duration, Gaston Bachelard. 1950
Bachelard argues for a discontinuous time, made of instants out of which we construct new durations and deconstruct old ossified ones. A time experienced as durations that addresses the nature of time in its irreducibly fractured and interrupted state, and within which Bachelard urges us to launch projects and lead lives of creative rhythms.
Becoming Propositional.
Developing in the Incipiency of Relations/Ecologies between Things/Phenomena.
One has to realize what restraint it needs to express oneself with such brevity. Every glance can be expanded into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single breath: such concentration can only be found where self-pity is lacking in equal measure. These pieces can only be understood by those who believe that sound can say things which can only be expressed through sound.
Arnold Schoenberg, from the introduction to the Six Bagatellies for string quartet, Opus 9, by Anton Webern, a Viennese friend and contemporary of Egon Schiele's.
Rachel's, Music for Egon Schiele. 1996.
Individuations Dance/Relationscapes
There is no time to return to the line, the line must draw the movement, the gesture itself must become line. One pass with the paint and that's all, move the canvas. The result a vastness of localized movement, a movement across that is at once microscopic and macroscopic.
Erin Manning.
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The Swimming Pool Drawings
Michael Grimshaw, Winchester School of Art.
We land into the focus of an awareness that becomes us.
Whitehead. 1929.
The architecting of spacetimes of experience co emergent with bodies in the making.
Choreographic Propositions/Mobile Architectures, Erin Manning.
The choreographic proposition serves not to delineate positions or forms from one another in a normative practice of movement notation, but to create a diagram that captures in a fleeting moment the qualities of movement expressibility, such that their force of form can be felt.
Deleuze defines the diagram via Francis Bacon as the operative set of asignifying and non-representative lines and zones, line-strokes and colour patches, whose function is to be suggestive. He speaks of the diagram capable of unlocking areas of sensation, suggesting that the diagram is chaos, catastrophe, but also a germ of order or rhythm.
https://www.flickr.com/photos/russellmoreton/
In Closing.
OURSELVES
Here, on the edge of what we know, in contact with the ocean of the unknown, shines the mystery and the beauty of the world. And it's breathtaking.
I believe that our species will not last long. It does not seem to be made of the stuff that has allowed the turtle, for example, to continue to exist more or less unchanged for hundreds of millions of years; for hundreds of times longer, that is, than we have been in existence. We belong to a short lived genus of species. All of our cousins are already extinct. What's more, we do damage. The brutal climate and environmental changes which we have triggered are unlikely to spare us.
For the Earth they may turn out to be a small irrelevant blip, but I do not think we will outlast them unscathed – especially since public and political opinion prefers to ignore the dangers which we are running, hiding our heads in the sand. We are perhaps the only species on Earth to be conscious of the inevitability of our individual mortality. I fear that soon we shall also have to become the only species that will knowingly watch the coming of its own collective demise, or at least the demise of its civilization.
Carlo Rovelli. 2016.
It could be said that the most fantastic material is the human neuron. It dominates most materials around it, it is a prime agent of change and determines many forms on the planet.
For Cragg, ninety-nine percent of those forms are solely utilitarian, driven by survival and economics. The result is an impoverished material world. Utilitarianism censors the possibilities of form, this not only applies to designed objects and architecture the world over, it also applies to forms of education and society in general.
Our super-thinking material the human neuron with that prime position in the hierarchy of material, has a responsibility for all other material within its grasp whether mineral, plant or animal.
Tony Cragg, Sculptures and Drawings. 2011.
Each Proposition
Activates Contrast.
Architectures based on a full recognition of the embodied human condition and of the multitude of instinctual reactions hidden in the human unconscious. A piece of furniture sets up a proposition for a event, the encounter with itself and the body of the user.
Alvar Aalto's buildings are not based on a single dominant concept or gestalt; rather they are sensory agglomerations. They sometimes even appear clumsy and unresolved as drawings, but they are conceived to be appreciated in their actual physical and spatial encounter, 'in the flesh' of the lived world, not as constructions of idealised vision.
Juhani Pallasmaa, Alvar Aalto.
Choreography As Propositional/Relations/Generative Practice.
Choreography starts from any point, it cleaves an occasion activating its relational potential. It makes time, beginning its process anew, always from the middle of the event. Choreography is thus a proposition to the event. Choreography asks/inquires into the event, how its ecology might best generate and organize the force of movement-moving.
William Forsythe, Erin Manning.
Choreography, a self generating act proposed into a movement/potential motion/event of a milieu/gathering.
Making/generating/organizing as a proposition/task/technique to the material.
Developing in the incipiency of a choreography creative ecologies of the force of movement/making/movement.
Tony Cragg/In and Out of Material.
Carlo Rovelli/Seven Brief Lessons On Physics.
Intertwining Thinking and Making.
Architecture and the Senses.
Juhani Pallasmaa/The Eyes Of The Skin.
Bayfield Hall.
Making and deploying theoretical objects/installations/workshops.
Exploratory Clay/Ceramic based inquiry.
Creative entanglements in a world of/with materials/others.
CLAY.
Ceramic Components/Composite Sculptures.
Templates/Painted Cardboard.
Extruded/Sledged/Moulded.
Julian Stair/Art, Death and the Afterlife.
Sainsbury Centre.
As proposition to the event, choreography does so not by abstracting itself from the event but always as part of the event, it can never be separated out from its coming-into-itself-as-event.
Choreography/unfolding-as-event is the fielding of a multiplying ecology in a co;constitutive environment, it develops in the incipiency of the in-between, spurred on by tendencies that waver between the rekindling of habit and the tweaking of a contrast that beckons the new.
For an event to tune itself choreographically many techniques are necessary. Techniques can be generated as tasks, or they can be self generated.
Chorepgraphy as a generative practice must ask, how the tasks become propositional, how the coalescing ecology becomes more than the enabling constraints that set it into motion.
Erin Manning.
On The Body of Drawing/Demarcations
Localized/Relational/Choreographic.
Transparency/Translucency/Erasure
What Remains/Of The Other Sister
Dead on Arrival.
The life drawing separated from its corporeal event is now just a representation marooned in its media.
The Life Room, a space where an individuals mental reality meets cultural narratives.
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