Spatial Practices/An Affective Intensity~Agencement : Thinking Matter : Between Human/Spatial Relations

Outpost 261124

An Affective Intensity.

The juxtaposing volatility of abjecting spatial and human bodies.

Spatial Agency/Assemblages~Agencement in constant relational movement.

Abstracted-Diagrammatic-Inhabitations.

Expulsions from/for relational bodies.

A Provisional/Speculative Framework.

Tuschimi's Equation : A framework that sets out a logical outcome, but where the insertion of event introduces a deviation, a slippage from the planned/programmed outcome. Such that the 'architecture' is indeterminate.

Event=Space-Movement.

Creating Disjunction, superimposing assemblages of event/space/movement over(entangling) one another.

A Becoming Architecture.

To provoke potentials to occur.

Contracts (Architectural Transcripts), scripting spatial relations that utilise fictional scenarios in real spaces, are used as a way of working with temporal events.

Here architecture is pushed towards and over its limits to the point where it is no longer 'architecture' as we know it. But rather an architecture, an anticipation of an architecture (social construct) to come.

Immediate Architectural Intraventions.

Spatial Practice.

Thinking Matter : Between Human/Spatial Relations

WSA 2007-Outpost 2024

Real Space + Fictional 'Event'

The architectural origin of each 'episode' is found within a specific reality, and not in an abstract geometrical figure.

Tschumi.

Minoritarian Architecture/Deleuze.

They produce a type of labyrinth, with a momentary impossibility of escape.

They are architectures in a constant state of change, perpetually agitating the discipline's established norms.

Abject (ion) facilitates an affective intensity.

Art works (workings) made from an expelling human body in relations with spatial bodies.

Waiting Rooms

Soul Cages.

Black Books

Installations

Ceramic/Architectural Propositions

Zuzana Kovar.

Abject(ion) is a discussion of bodies of assemblages.

Abject events render a particular indeterminacy. There is an aim here through abject(ion) to re-purpose architectural methodologies in order to contemplate abject(ion) and specifically contemplate its dilution of boundaries between bodies. It is critical to reiterate that abject(ion) through its volatile and leaky nature inevitably comes to encompass more than one body.  

Material Markings/Inhabitation.

Life Drawings/Frottage/Graphite/Charcoal/Concrete.

Winchester Weeke Centre 2006.

Making Apparatuses/Fictioning Space : Reading with Deleuze and Spinoza~Radical Intuitions : Interacting through abject(ions) between clay+ceramic.

Speculative and Exploratory Field Works.

Practical Philosophy ~in~the~making~

Asking of those that create things through material engagements, all the poetics~makings are crafted from modalities of becoming affective abject(ions)~aesthetics~

Inscriptions, handwriting, cognitive connections across visual art materialisms.

Gathered readings, walking across holloways and embodied dispositions, surfaces/inseparable cartographies of embodied experiences.

Undisciplined knowledge enables and sustains actions, gestures of a post disciplinary field.

Inseparable categories (containers and bodies) and their contents.

The Aesthetic,

The Economic,

The Political,

The Social,

The Sensations The World Calls Forth/Water at Hungate.

Outpost 150723

Hungate Medieval Art and Architecture.

https://www.axisweb.org/p/russellmoreton/

The Sensations The World Calls Forth.

We paint-sculpt-compose and write with sensations.

INSIDE THE VISIBLE

impulse of the possible

an elliptical traverse of 20th century art.

in, of, and from the feminine.

edited by M. Catherine De Zegher. 

front cover:

Anna Maria Maiolino, 

Entrevidas (on the margin of life), Installation, photo: Hanzy Stakl. 1981

The plane of composition through which articulation eventually emerges is populated by the thought of the work, its inner rhythm. Deleuze and Guattari calls this inner rhythm a block of sensation.. Blocks of sensation are forces that compose thought's durational attitude.

Deleuze ,Guattari. 1994.

Rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.

Sculpting in Time, Tarkovsky.

For Tarkovsky, editing from within seeks to create space-time, not simply reproduce it. To edit from within is to compose with the more-than of language's actual articulation. It is to work with language's pre articulated virtual force, directing enunciation such that its virtual effects are felt within actual expression.

For Amanda Baggs, communication through words remains inadequate to the singular experiences of sensation the world calls forth.

Thought is a proposition for Feeling-In-Motion.

Thought is more than a form taking of words.

Words are an extra component of the experience of articulation, not its final form. Words cannot fully express experience's complexity.

Language must be called forth as a layering-with of the affective tonality of expression.

An inquiry and its translation that transduces the event of language's becoming with sensation.

Language does not replace the sensual exploration of the relational environment, it moves with it, becoming one more technique for composition.

The Relational Cusp : 

Of Becoming-Events-Objects-

Movements Expressing The Force Of  A Relational Environment.

This sensory becoming is a form of thought.

Being/Becoming in a constant conversation with every aspect of my environment, reaching/reacting physically to all parts of my surroundings.

Artworks/Art working to create a relational nexus that can expose the world at the incipience of its sensory becoming.

Relationscapes : Erin Manning.