Showing posts with label Yi-Fu Tuan. Show all posts
Showing posts with label Yi-Fu Tuan. Show all posts

Tuesday, 19 March 2024

Collage: Diversions, Contradictions and Anomalies.

 Collage: Diversions, Contradictions and Anomalies.


Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O'Reilly





















Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan


1959 : Patti Smith
Peace and Noise


Lingering at the threshold between word and image
Cy Twombly
Claire Daigle

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration. 

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.



Research Material
Photographic Drawings


PETER ZUMTHOR ATMOSPHERES

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

Saturday, 4 February 2023

Processual Drawing : Bioscleave/Blue Particle Cloud/Diagram.

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




ARCHITECTURAL Body
An ORGANISM that PERSONS
Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence 

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave
Procedural Architure/Architectural Body 
Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount
The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum
An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013
Jondi Keane

An Architecture of Viability
To help to sustain one throughout life/ to stay tentative
Bioscleave House as an inter-active laboratory of everyday life 

Wayfinding (unpacking discourse/meaning) through Landing Sites and Architectural Bodies
What is the metachallenge that bioscleave demands of us? Is it, I propose, wayfinding, a wayfinding defined at many scales from finding one's way as a person to finding one's way in a strange physical or social environment
Exploring the Roles of Trajectoriness, Affectivatoriness, and Imaging Along 2013
Reuben M. Baron


Figure/Ground : Double Occupations of Discourses and Events (relationships/co-existances)
So as a diagram (performative agent), the figure/ground does not function to represent even something real. But rather constructs a real that is yet to come (theoretical object/apparatus) as a new type of reality
Situated Field/Constructed Site of People, Institutions, Apparatuses, Events, Discourses

We see intraventions as heuristic devices, as apparatuses that are imbued with a will to transform.
The intravention is not autonomous but contingent and relational and dependent on many other things
The intravention is made as it happens, and it makes us at the same time
Immediate Architectural Interventions, Durations and Effects
Oren Lieberman, Alberto Altes

AEffect initiating Heuristic Life
Procedural architecture, developed in both their written and buillt discourse, providing a process by which to connect theory to practice, disciplinary inquiry to knowledge and art to life
Research should be conducted , not in a library or laboratory but where living happens, enabling the complexity of relationships to be studied within and across the organism-person-environment 
Jondi Keane


Carnal Knowledge
Towards a New Materialism through the Arts
Estelle Barrett, Barbara Bolt


To provide observational heuristic devices so that persons may devise transformational and reconfigurative opportunities

Heuristic tools whether built hypothesis or discursive sequences, are of no use if they do not provide a way forward, a way of learning

This house is a tool, a procedural one
A functional tool, whether it be a hammer, a telephone, or a telescope, extends the senses, but a procedural tool examines and reorders the sensorium

Interlude : Cornering a Beginning
An object becomes the threshold for thinking feeling
Relationscapes : Movement, Art, Philosopy
Erin Manning 

Born into a new territory, and that territory is myself as organism. There is no place to go but here. Each organism that persons finds the new territory that is itself, and having found it, adjusts it

Ellipsis,(gaps in everyday narratives) 
The Construction of Representation of Identity
Using their bodies and immediate surroundings and environment as both subject and context
An Organism-Person-Environment
You cannot see me from where I look at myself
Francesca Woodman

An organism-person-environment has given birth to an organism-person-environment
Bioscleave

Chaos, Territory, Art
Deleuze and the framing of the earth
Elizabeth Grosz

Body, Personal Relations, Spatial Values
Upright Human Body : Space and Time
Yi Fu Tuan

Figuring It Out
The Parallel Visions of Artists and Archaeologists
Colin Renfrew

The act of relating is analysed as a constitutive feature of human agency. Relating is viewed as the continuous work of connecting and disconnecting in a fluctuating network of existential events
Categories and things may make it easier for us to grasp reality but they also hide its underlying complexities
Relationality 2005
Robert Cooper


Monday, 13 September 2021

Relationscapes/Material Flows : infra Body, Personal Relations and Spatial Agency

Slow Philosophy
Reading against the institution

Troubleyn Laboratorium
Jan Fabre

Every colour has its own perspective.
Jenny Saville

Material flows and currents of sensory awareness in which images and objects reciprocally take shape.
Tim Ingold

The Dynamic Real
Vibrant Matter
Jane Bennett

infra
Max Richter
Wayne McGregor
Julian Opie

Vitality
Difference
New Materialisms
Elizabeth Grosz

Diffraction attends to specific material entanglements, a discursive phenomenon that makes the effects of different differences evident.
Performativity, subject and image do not pre-exist as such, but merge through intra-actions. 
Karen Barad

Collage, Superimposition, Bounded and Un-Bounded 



















Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan

1959 : Patti Smith
Peace and Noise

Lingering at the threshold between word and image
Cy Twombly
Claire Daigle

https://www.tate.org.uk/context-comment/articles/lingering-threshold-between-word-and-image

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.

Existential Gestures : Looking away from the sea

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times








Friday, 9 July 2021

Collage Body : Diversions, Contradictions and Anomalies.

Collage : Diversions, Contradictions and Anomalies.

Body : Personal Relations and Spatial Values

Reading : Slow Philosophy


Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O'Reilly





THE PERSPECTIVE OF EXPERIENCE


Yi-Fu Tuan

1959 : Patti Smith
Peace and Noise

Lingering at the threshold between word and image
Cy Twombly
Claire Daigle



Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration. 

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation
















Research Material
Photographic Drawings

PETER ZUMTHOR ATMOSPHERES

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

The New Institutional Practice
Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary 

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes
Site-Specific Art and Locational Identity
Miwon Kwon 2002

Collaborations and its Discontents
Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity
When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour  

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another
A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives
Unsettling-Complicit
Provocative-Strategic
Interventionist-Collaborative

Perforative Curating/Prescribed Participation
Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment
Claire Doherty 2006

Participation
In which people constitute the central artistic medium and material
In the manner of theatre and performance
Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations
The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end
Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)
Participatory Art and the Politics of Spectatorship
Claire Bishop 2011

Site-Specificity/Spatial Practice
The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate
Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames
Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing 

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact