Shadows Gathering around Objects, Causality, Art Ontologies : Correspondences in Drawing/Watching/Walking/Reading.

 

Outpost 071022

The Quadruple Object.

There are two kinds of objects and two kinds of qualities, real and sensual in both cases.

Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise.

I am not saying that a work of Art reveals the secret of life and being to us.

A work of Art affords the peculiar pleasure, an aesthetic performance in which the inwardness of things, their executant reality is opened to us.

Ortega.

Giacometti.

Created a visual lexicon of nothingness and being, of community and isolation.

Making fleeting visions, interactions between the modelling object and the space within which it exists. Concentrating, extracting a female nude from the atmosphere of a city, creating a space that oscillated with their shared community and isolation.

There is no direct knowledge of anything only relations-on-knowledge.

The real object withdraws inaccessible from the scene, as the new object generated by metaphor takes over the situation.

The real objects at stake in aesthetics are ourselves.

It would be more accurate to say that in Art the part of the image which looks towards the object is always subordinated to our efforts, because as basically Thespian beings we become the new object generated by metaphor.

Object-Oriented Ontology.

A New Theory of Everything.

Graham Harman. 2018

Aesthetics Is The Root Of All Philosophy.

Robert Mangold.

Creating a new mysterious real object with new sensual qualities.

Compound Objects

Assemblages

The Quadruple Object.

Since objects cannot exist without qualities and vice versa, there are only four possible combinations.

In Object-Oriented Ontology real-sensual objects and qualities always come together.

Object Relations

Potentiality/Receptivity

The Theatricality of Metaphor.

Art makes explicit the tension between qualities that are experienced in the real/sensual object.

I myself am the sole real object in all experience, encountering any number of sensual things.

Every objective image, on entering or leaving our consciousness produces a subjective reaction.

Art is primarily theatrical in nature, since the spectator becomes a sort of 'method actor' a theatrical actor acting out the structure of metaphor. 

Ortega, An Essay in Esthetics By Way of a Preface. 

Ontology is the branch of philosophy that deals with ultimate questions of what reality and real things are.

Bruno Latour, defines modernism as the view that there are two permanently distinct kingdoms, known as nature and culture and that it is the task of modernity, to purify these two domains from each other.

Metaphor is not knowledge about a pre-existing object, rather it  brings about the production of a new object.

All we are saying is that the real object at stake in metaphor is neither the absent cypress-object to which we never gain direct access, nor the human being who takes note of it. But rather the new amalgamated reality formed from the reader who poses as a cypress-object and the qualities of the flame.

The successful metaphor much like the successful joke, will occur only when the reader or auditor is sincerely deployed in living it.

The metaphor is theatrical, in the same sense as one is living one's role on stage.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Hybrid Digital/Analogue Photography : Soundscapes/Choreographies/Celestial Scores

Soundscapes

Under Review : Hybrid Musical Sources

Side C
10. Sola Gratia (Part 2)- Jozef Van Wissem et SQURL

Existential/Propositional Objectiles/ Spaces/In-Situ : Architecture/Photography/Installation

Objects exist in the between of a proposition and its eventness, and in so doing they are inciting co-constellations of movement-moving.

Forsythe invites his students to participate in creating physical solutions to dramaturgic propositions. 

Erin Mannng.

Sainsbury Centre, University of East Anglia

Tate Modern

Millennium Bridge

VITRINES : Art Spaces/interiors/interventions
Anselm Kiefer :
In the Annenberg Courtyard
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).

After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.

Paul Soldner
Sainsbury Centre
University of East Anglia

















2017/2023

Pandora's Box : Jan Dibbets on Another Photography

Jan Dibbets et Fabrice Hergott | La boite de... by paris_musees Jan Dibbets has addressed this project radically. For him the power of the photographic medium lies in its specific characteristics and technical possibilities, rather than in its content and subject matter. At odds with the ongoing institutionalisation of the documentary image, he quotes Duchamp's reply to a question from Stieglitz in 1922: "You know exactly what I think about photography. I would like to see it make people despise painting until something else will make photography unbearable." (“Can a Photograph Have the Significance of Art”, MSS, no. 4, December 1922, New York). Breaking with the standard museum codes while adhering to a more or less chronological framework, the exhibition investigates the nature of the photograph in the digital age and photography's relationships with the visual arts. Although the discipline quickly became a competitor for painterly realism – think Ingres – it is the scientifically oriented photographers of the 19th century who emerge here as the true visionaries, paving the way for entire output of the 20th century. Nicéphore Niépce, Gustave Le Gray, Etienne-Jules Marey and Eadweard Muybridge are on show here, alongside other photographers less well known – but for Dibbets just as crucial – including Wilson A. Bentley and Etienne Léopold Trouvelot. Their direct successors are Karl Blossfeldt, Man Ray, Alexander Rodchenko, Paul Strand and Berenice Abbot – in a line that continues on to Bruce Nauman. As an apologia for photography's reproducibility, the "Pandora's Box" the discipline represents for Dibbets is a recipe for total freedom: side by side he shows two similar images, or a positive and its negative, or a copy of a famous work made by a later photographer. The high point of the exhibition is a selection of photographs by contemporary artists – among them Thomas Ruff, James Welling, Wade Guyton, Seth Price … – whose recourse to digital technology compels an extension of the concept of what Markus Kramer calls the "photographic object".

Spatial Assemblage : Apparatus/Diffraction

 Assemblage : Apparatus/Diffraction

"There are no simple concepts. Every concept has components and is defined by them.

It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity

is conceptual...

Not only do Descartes, Hegel, and Feuerbach not begin

with the same concept,

they do not have the same concept of beginning...

Every concept has an irregular

contour defined by the sum of its components,

which is why,

from Plato to Bergson,

we find

the idea of the concept being a

matter of articulation,

of cutting and

cross-cutting.

The concept is a whole because it totalizes

its components, but it is

a fragmentary whole.

Only on this condition can it escape the

mental chaos

constantly threatening it, stalking it, trying to reabsorb it."

-- Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.

Assemblage (Wilcox)

As opposed to concepts like structure, culture, science, objectivity, production, agency, technology, and nature, the idea of assemblage emphasizes the material-discursive heterogeneity of which the cosmos is constituted. As Deleuze explains:

In assemblages you find states of things, bodies, various combinations of bodies, hodgepodges; but you also find utterances, modes of expression, and whole regimes of signs. The relations between the two are pretty complex. For example, a society is defined not by productive forces and ideology, but by ‘hodgepodges’ and ‘verdicts.’ [i]

Fortun and Bernstein (1998) use the term “realitty” to describe the complex, messy world made up of assemblages and trace the genealogy of the concept throughout the twentieth century’s continental philosophical traditions. Beginning with Frankfurt School critical theorists like Walker Benjamin and Theodor Adorno, who coined the term “constellation,” and moving through Foucault and Deleuze, Fortun and Bernstein characterize the concept of the assemblage thus:

In an assemblage, nothing explains it all: not the sciences, not the social sciences, not the human sciences. There isn’t anything that is first or fundamental in an assemblage—nature, language, culture, institutions, whatever—it’s all at once, and we with our questions come after it. Meaning that we are both assembled by it, and in pursuit of it. Even though we’re consigned to come after the assemblage has been assembled, both with and without our intentionality, that doesn’t stop us from going after it, too.[ii]

https://conceptsinsts.wikispaces.com/Assemblage+%28Wilcox%29

Assemblage (Weiss)

(Disambiguation: Assemblage (Wilcox))

The assemblage is introduced as a heuristic tool to map out the realitty of an idea: the conceptual connections surrounding and contributing to the formation of a topic, such as Darwin's theory of evolution. The primary source text for this idea is Muddling Through by Fortun and Bernstein.

There are four general characteristics of assemblages:

1) Assemblages are a kind of infrastructure (1, 2) - "a complex, crazily reticulated transportation system" (105) - that, like roadways, facilitate (conceptual) movement in certain directions while constraining movement in other ways.

2) Despite the constraining nature of assemblages, they still allow for some elements of power and agency to be exercised. If you have the ability, granted by some modes of thinking, to go "off-road" or to start a new chain of self-organizing "roadwork", then you are able to recoup more agency in choosing which direction to think in. (105)

3) An assemblage is always in some type of restricted motion as various nodes are afforded slight shifting within the constraints of their linkages. "The lobster form is not entirely whimsical, but a deliberate reminder that the sciences are in motion and, indeed, composed of linked motions." (106) Stabilization is possible in small regions of an assemblage through stronger interconnections made between nodes of institutions, concepts, and activities, such as those found in the sciences. It is important to recognize that this stabilization effect comes not from reality, but from realitty, the social elements that contribute to a sense of fact or truth. This movement also emphasizes that visual representations are "diagrams of contingency" - the elements are all interdependent upon connections to other elements and that shifts in force or direction will transfer across the diagram, sometimes in indirect ways. (107)

4) The representation of an assemblage is itself a kludged tool to aid our understanding of and inquiry into scientific activities. Rather than providing answers or hard-and-fast explanations, assemblages are meant to provoke questions and to open up possibilities in thinking about events and topics in new ways.

https://conceptsinsts.wikispaces.com/Assemblage+(Weiss)

Agential Realism

A theory coined by Karen Barad, agential realism reconceptualizes the process by which objects are examined and knowledge created in scientific activities. Barad emphasizes that agential realism is not just an epistemological theory, but an ontological one, as it describes how reality is actually shaped. 

" [Agential realism] is an epistemological and ontological framework that extends Bohr's insights and takes as its central concerns the nature of materiality, the relationship between the material and the discursive, the nature of "nature" and of "culture" and the relationship between them, the nature of agency, and the effects of boundary, including the nature of exclusions that accompany boundary projects.

Agential realism entails a reformulation of both of its terms - "agency" and "realism" - and provides an understanding of the role of human and nonhuman factors in the production of knowledge, thereby moving considerations of epistemic practices beyond the traditional realism versus social constructivism debates." (89)

Agency, according to Barad, “is a matter of intra-acting; it is an enactment, not something that someone or something has.” (112) 

Niels Bohr's Quantum Physics

“Bohr’s epistemology calls into question several foundationalist assumptions that Western epistemology generally takes as essential to its project; among these are an inherent subject/object distinction and the representational status of language.” (89) 

Influential in the development of agential realism was Niels Bohr, a quantum physicist who asserted that observing apparatuses are not merely passive instruments, but things that participate in the formulation of scientific observation. He also resolved the "wave-particle" duality paradox (97) by positing that the paradox existed because the methods used by scientists to measure light as a wave versus as a particle were mutually exclusive.

By granting apparatuses a more active role in the production of knowledge, Bohr challenged the separateness of observer and object by referring to “objects of observation” and “agencies of observation”.

“[T]his interaction between object and apparatus thus forms an inseparable part of the phenomenon.” (95)

Apparatus

“[A]pparatuses are specific material reconfigurings of the world that do not merely emerge in time but iteratively reconfigure space-timematter as part of the ongoing dynamism of becoming." 

“...apparatuses are not mere instruments or devices that can be deployed as neutral probes of the natural world, or determining structures of a social nature, but neither are they merely laboratory instruments or social forces that function in a performative mode." 

Barad uses the example of the transducer in a sonogram machine that is used to "view" a fetus: 

"the transducer does not allow us to peer innocently at the fetus, nor does it simply offer constraints on what we can see; rather, it helps produce and is "part of" the body it images.” (101)

A transducer in a sonogram is not merely a passive instrument; it actively participates in the production of an image of a fetus, both in how it transforms auditory input (sound waves) into visual outputs on a screen, but also in how it makes the fetus seem to be more real and existent than it would have been without. 

Diffraction

Another key idea behind agential realism is Barad's emphasis on a transformative and transgressive diffraction, not just reproducing reflection:

"In this regard, it is important not to confuse the fact that I am drawing on an optical phenomenon for my inspiration in developing certain aspects of my methodological approach ... with the nature of the method itself. In particular, calling a method 'diffractive' in analogy with the physical phenomenon of diffraction does not imply that the method itself is analogical. On the contrary, my aim is to disrupt the widespread reliance on an existing optical metaphor - namely, reflection - that is set up to look for homologies and analogies between separate entities. By contrast, diffraction, as I argue, does not concern homologies but attends to specific material entanglements." (87)

Again, Barad's posthumanist expansion of performativity to include nonhumans comes into play:

"I propose a posthumanist performative approach to understanding technoscientific and other naturalcultural practices that specifically acknowledges and takes account of matter’s dynamism. The move toward performative alternatives to representationalism shifts the focus from questions of correspondence between descriptions and reality to matters of practices, doings, and actions." (135) 

Barad clarifies that her posthumanism is not celebrating "after humans", but more challenging the prima facie segregation and privileging of humans over and from other beings:

"Posthumanism, as I intend it here, is not calibrated to the human; on the contrary, it is about taking issue with human exceptionalism while being accountable for the role we play in the differential constitution and differential positioning of the human among other creatures (both living and nonliving)" (136) 

Hearkening back to her physics roots, Barad compares the conceptual diffraction to optical diffraction versus reflection, explaining that diffraction allows for more insight because it transforms (conceptual) images:

"Such an approach also brings to the forefront important questions of ontology, materiality, and agency, which social constructivist and traditional realist approaches get caught up in the geometrical optics of reflection where, much like the infinite play of images between two facing mirrors, the epistemological gets bounced back and forth, but nothing more is seen.

Moving away from the representationalist trap of geometrical optics, I shift the focus to physical optics, to questions of diffraction rather than reflection. Diffractively reading the insights of poststructuralist theory, science studies, and physics through one another entails thinking the cultural and the natural together in illuminating ways." (135) 

This diffraction challenges the singularity and solidity of boundaries, making what was sharply delineated a zone of fuzzy regions that have questionable divisions held in place by iterative performativity:

https://conceptsinsts.wikispaces.com/Agential+Realism+%28Weiss%29

Working Spaces/Six Memos : Sites of Inquiry and Dialogue/Investigative Thinking/Post Studio

Every action happens in its own right and every action is an analogy of something else. 

What I do need be no more than what appears at the moment of the happening.

Peter Brook, The Open Stage.

BOUNDARIES AND JUNCTION POINTS ARE IN THE NATURE OF THINGS POINTS OF FRICTION.

Lefebvre, The Production of Space.

MAKING : Essentializing of site and community through artistic presentation and production.

ITALO CALVINO

SIX MEMOS FOR THE NEXT MILLENNIUM

LIGHTNESS 

QUICKNESS 

EXACTITUDE 

VISIBILITY 

MULTIPLICITY

CONSISTENCY not written at the time of the authors death.

SETTING UP THE IMMEDIATE THEATRE

MA Spatial Practices, Canterbury.

Project analysis and comment from Prof. Oren Lieberman, Dr Terry Perk, Dr Judith Rugg.

The desire to register working spaces is an interesting, and I believe fruitful, direction in the work. It is important that through this registration, you allow and encourage a theory to evolve. ‘Register’ is a useful term in that it accommodates both the index (through the notion of recording information) as well as the performative registering of, say, an opinion. As the pinhole apparatus registers ‘public’ spaces as well, it would be worthwhile assigning them the value of ‘work’ spaces also.

Also: you should understand the apparatus as a significant performative, spatial practitioner in its own right, and be careful about focussing only on the very engaging images produced by it.

Developing an engaging thesis exploring various forms and frameworks for thinking about thematics of photography and architecture in relation to space and its potential meanings and productions.

Using both practical workshops and theoretical enquiry to explore the differing values for both reading or engaging with the poetics of spatial formation in an ‘post’ sense of the studio. 

The work explores the concept of the open text in various ways and traces a development of the research from various approaches. This is a useful document of investigative thinking around ways of working for the project.

There are some methodological approaches proposed here through a range of contestatory areas - in particular, the nature of the document and the text as spatial tools or ways of thinking about the interfaces between them.

Some fascinating areas of insight and propositions on the nature of space - especially concepts of latency, peripheral space and methods of interaction/intervention. How could this area be explored in conceptual and crucial terms for the development of the project? - Behind your fluid approach, there is a sense of the need of the relational.

The bibliography could be further developed in terms of defining its taxonomies and the rationale or relationships between them and with the proposal.

Marc Auge, Non-Places, introduction to an anthropology of super modernity (London: Verso, 1992).

Gaston Bachelard, The Psychoanalysis of Fire (Boston :Beacon Press, 1964). 

John Berger, Berger on Drawing ( Aghabullogue: Occasional Press, 2005). 

Peter Brook, The Open Stage (London: 1968).

Giuliana Bruno, Public Intimacy, Architecture and the Visual Arts (Massachusetts: MIT Press, 2007).

Italo Calvino, Six Memos for the Next Millennium (London: Jonathan Cape, 1992). 

Martin Clark, The Dark Monarch, Magic and Modernity in British Art (London: Tate St Ives,2009).

Mary Douglas, Purity and Danger (London: Routledge, 1994).

John Houston, The Abstract Vessel, Ceramics in Studio (London: Bellow Publishing, 1991).

Lefebvre, The Production of Space (London: Blackwell, 1991).

James Lovelock, The Vanishing Face of Gaia, A Final Warning (London: Penguin books,2009).

James Salter, A Sport and a Pastime (San Francisco: North Point Press, 1967). 

Richard Serra, The Matter of Time (Bilbao: Steidl Publishers,2005).

Rose Temkin, Thinking is Form: The Drawings of Joseph Beuys (London: Thames and Hudson, 1993).

Tracey Warr, The Artists Body ( London: Phaidon Press,2000).

Christopher Wilmarth, Drawings into Sculpture (New York: Fogg Art Museum,2003).

I propose to register a site by its boundary. This new space will attempt to represent the internal dimensions of the artist’s current working studio space and be given a similar terrestrial orientation. Into the interior of this marked space objects from the working studio are to be reinstalled. This intervention attempts to create a spatial temporality into which a contemporary art practice will act as a context. The intervention sets out to display the complexities of the contemporary practitioner, the research material and works completed and those that are to instigated as a direct adaptation/response to the situation and site at hand. The temporal nature of this staged work reflects issues of mobility needed by the professional practitioner to be able to set up working sites and the ability to transpose them into other hosting environments, other challenging opportunities.

BIBLIOGRAPHY OF DISPLAYED/BOOK MARKED MATERIAL.

Edward Casey, The Fate of Place (Berkeley: University of California Press, 1998)

                     Giving a face to place in the present, 

                     By way of the body.

Yve Lomax, Sounding The Event (London: I. B. Tauris, 2006)

                     An impossible refrain, 

                     Fortuity,

Giuliana Bruno, Public Intimacy, Architecture and the Visual Arts (London: MIT Press, 2007)

Modernist Ruins Filmic Archaeologies,

DRAWING SPACES.

This activity of marking out an elsewhere (the studio space) and presenting it here and now is a fundamental quality of drawing. The act of drawing is in itself a private act undertaken primarily for the artists benefit. The finalisation of the research project revolves around issues of public intimacy with art objects whilst being in public spaces. This investigation into public intimacy and the reception of contemporary art practice as an open site; complete with works completed but not yet “framed” for any given spatial or social context attempts to stage this reality. Together with supplementary material present including in some cases work in progress, this might allow the temporal space frame of an absent space the ability to create a privileged and therefore valued experience of art objects within and amongst the intimacy of their conception.

Letting the practice stage its own intimate theatre might engender more collaborate speculation and interdisciplinary workings. “Spatial Practices” envisaged practitioners from Architecture, Fine Art and Performance driven disciplines, my own research at Canterbury has attempted to orchestrate a spatio-temporal theatre of reception for this purpose.

The Architecture of Science in Art: An Anatomy Lesson, 

                      The room as the real protagonist of the film. 

Bridget Elliott, Peter Greenaway, Architecture and Allegory (London: Academy Editions, 1997)

                       On Common Ground, 

                       Allegory as Architecture.

                       (Un)Natural Histories Collecting Cultures, Crossing Limits.

Ian Buchanan, Deleuze and Space (Edinburgh: Edinburgh University Press, 2005)

                       The Nomadic Subject in Smooth Space, 

                       Territories and the Refrain,

The nomadic subject open to unconventional spatial orientations can make new connections in keeping with the movements of life as it unfolds. 

Irit Rogoff, Terra Infirma, geography's visual culture (London: Routledge, 2000) 

Vicente Todoli, Time Zones, Recent Film and Video (London: Tate Publishing, 2005)

                    The Where of Now,

Bernard Poerksen, The Certainty of Uncertainty, Dialogues introducing Constructivism (Exeter: Imprint Academic, 2004)

Gerhard Richter, Zufall, The Cologne Cathedral Window (Koln: Walther Konig, 2007)

Glen Onwin, As Above So Below (Halifax: HMST, 1991) Caroline Christov, Arte Povera (London: Phaidon, 1999)

Guy Brett, Force Fields, phrases of the kinetic (London: Hayward Gallery, 2000)

The Laboratory : Spatial Practices, 

Canterbury School of Architecture. 2009

Post studio practice/social processuality

Superimposition of studio space into the main foyer of a university. The disclosure of creative practices, spatial relations entangled by the private and the public.

Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1

It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.

The act of “blocking in “ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio­ temporal markers or determinants.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through “which without colliding would produce the establishment of places (localities made special for one reason or another).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.

Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4

1 Lefebvre. The Production of Space, (London: Blackwell, 1991) pagel93.

2 Ibid..page 192

3 Ibid., page 192. 

4 Ibid.,page 192

UCA CANTERBURY 2010.Brief outline of final realisation.

I propose to physically register a site by creating its boundary, by way of applying 50mm self adhesive tape to the main reception area at UCA Canterbury. This new space will attempt to represent the internal dimensions of the artist’s current working studio space (5.0xl2.0metres) and as such it be given a similar terrestrial orientation. If it is necessary (through issues of setting up and health safety) a contingency plan would be to crop the footprint of the space by the use of a broken detail line where required. Into the interior of this marked space objects from the working studio are to be reinstalled and where possible to match existing placements, these initial positions will be documented to allow the registration of changes to be recognised. It is envisaged that these first points of departure may well migrate as the site becomes populated by activity and the spatial dynamics of the hosting space. This intervention (the superimposed space onto and within the existing) attempts to create a spatial temporality into which a contemporary art practice will act as a context for an investigatory and performative setting in public space of a creative private practice. The intervention sets out to display the complexities of the contemporary practitioner, the research material and works completed and those that are to instigated as a direct adaptation/response to the situation and site at hand. The temporal nature of this staged work reflects issues of mobility needed by the professional practitioner to be able to set up working sites and the ability to transpose them into other hosting environments, other challenging opportunities.