Art Workings~Visual Art Practice: Ceramics intertwined with an extensive visual art ...

Art Workings~Visual Art Practice: Ceramics intertwined with an extensive visual art ...: Making : Anthropological Objects ~ Fabrications on Humaning . Tim Ingold . Ceramics ~ Fired Clay 

The Politics of Architecture : Theorizing through speculative spatial practices.

"He rubbed his eyes. The riddle of his surroundings was confusing but his mind was quite clear - evidently his sleep had  benefited him. He was not in a bed at all as he understood the word, but lying naked on a very soft and yeilding mattress, in a trough of dark glass. The mattress was partly transparent, a fact he observed with a sense of insecurity, and below it was a mirror reflecting him greyly. Above his arm- and he saw with a shock that his skin was strangely dry and yellow - was bound a curious apparatus of rubber, bound so cunningly that it seemed to pass into his skin above and below. And this bed was placed in a case of greenish-coloured glass (as it seemed to him), a bar in the white framework of which had first arrested his attention. In the corner of the case was a stand of glittering and delicately made apparatus, for the most part quite strange appliances, though a maximum  and minimum thermometer was recognizable."

H. G. Wells : The Sleeper Awakes. 1899/1910

Spatiality : The Spatial Turn, Robert T. Tally Jr. 2013

Immediate Architectural Interventions, Durations and Effects : Apparatuses, Things and People in the Making of the City and the World. Alberto Altes Arlandis, Oren Lieberman. 2013

Preface (1921) ” The great city of this story is no more than a nightmare of Capitalism triumphant, a nightmare that was dreamt a quarter of a century ago. It is a fantastic possibility no longer possible. Much evil may be in store for mankind, but to this immense, grim organization of servitude, our race will never come” H.G. Wells. Easton Glebe, Dunmow,1921.

Visual Poetics/Bricolage/Red is not a colour : The Studio/Space of Real Situations

Spatial Collage : Research/Discourse/Apparatus

Farnham University of the Creative Arts

rhythmanalysis : Space, Time and Everyday Life.

Lefebvre

Jannis Kounellis

Carlo Scarpa

Translates the painterly relationship of figure and ground into the space of real situations

The Visual Poetics of Jannis Kounellis, Suzanne Cotter and Andrew Nairne.

Modern Art Oxford, 2004-2005.

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous.

Speculative Raku Firing. 2012

Red is not a Colour. Bernard Tschumi.

bricolaged notes  from STUDIO UNBOUND : Lane Relyea

Institutional Critique : Studio/Post Studio Activity

SPATIAL AGENCY : Spaces of Fluid Interchange Between Objects, Activities, People.

Today studio and museum are superseded by more temporal, transient events.

The Function of the Studio

Daniel Buren

The Studio is no longer as seen as belonging to a system.

No longer a retreat but it now INTEGRATES

It is all exterior.

Material Flows 2007/2017 Towards Disentanglement

Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.

Franco "bifo" Berardi

The Network places the artist as a 'like item' within an integrative inventory or database.

Networks are both integrative and decentralizing in that they privilege casual or weak ties over formal commitments.

Being part of a network that privileges itinerancy and circulation over fixity, that diminishes hierarchies and boundaries in favour of mobility and flexibility across a more open extensive environment. 

'The Studio made into a showroom display'

Antagonism and Relational Aesthetics. 2004

Claire Bishop

The Individual and The Social

A place where meanings, properties and behaviors fluctuate radically.

Bennett Simpson. Can you work as fast as you like to think. 2003

The hosting/re-created artist's workspaces, like a threshold between private and public actuality and potentiality.

The Notion of the Evolutionary Exhibition.

Placing greater emphasis on INFORMATION, DISCUSSION and GATHERINGS

Establishing NETWORKS, fluctuating between highly specialized work by scientists, artists, dancers and writers

Obrist/Vanderlinden, Laboratorium, Antwerp. 1999

MODULATION, Deleuze

Immaterial Social Acquaintances/Information

Along with the rise of Networks comes a new Ideology, one that Advertises Agency, Practice and Everyday Life.

The Dividual (The New Mobile Creator) Deleuze

Someone who is 'UNDULATORY In ORBIT, in a CONTINUOUS NETWORK

Colour Nexus : Promiscuous Mobility

OBSCURED MATERIAL

OUTPOST STUDIO 3.16

Notes from sketchbooks

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Spatial Asperity/Mesh, Membrane and Gauze

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading

Solitude/Libraries : Cell/Court/Domain

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Social Architectures/Anthropologies/Imaginary Projects

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

The Minor Gesture : The Diagram of the Painting/Fielding the Feeling of Force taking Form

Outpost 240723

russellmoreton.com

The plurality alive in art, always risks being overtaken, colonized, immobilized and arrested by the forces of encounter it invites. Yet paraphrasing Nietzsche, Deleuze writes, a force would not survive if it did not first of all borrow the features of the forces with which it struggles. What a will wants is to affirm its difference. Through the will to power, force takes form.

Active force always risks capture by reactive force and the risk of translation, of rendering work within a stabilizing narrative of identity or representation.

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

The diagram of the painting/drawing is its feeling of force taking form that is itself in movement.

Relationscapes, Erin Manning.

Propositions of Force/Appetition.

The Work's Diagram.

The force of the work is an emergent way of looking, more than an actual taking form.

Raveningham Diagrams for Sensing the Landscape. 2023.

Opening the present to its potential for experiential complexity.

Opening to the indeterminacy of experience.

Creating work that remains open to an infinity of potential evocations.

Making works that resonate with an ontogenitic plurality of sense(s). 

The same object, the same phenomenon changes sense depending on what force which appropriates it. Deleuze.  

We become sited in the fielding of the quasi chaos of microperceptions, an experience that leaves us out of breath, our muscles tense with the twitching of kinaesthetic empathy. We move with the intensive magnitude of the micromovements moving.

Erin Manning.

Landing sites choose us, creating an associated milieu that worlds the body-environment. 

Some are perceptual, some are dimensionalizing, some are imaging. 

Organism-Person-Environment

A decision is like a hook onto the environment to gain traction on it.

Fielding how we think-feel.

Nothing happens without kinaesthetic instigation and corporeal proddings.

A landing not so much into a place, as a dancing into attendance.

Architectural Body, Arakawa/Gins. 2002.

A choreographed encounter is never, wholly what it seems, you can't really choreograph movement because we are constantly in a process of fielding our surroundings, which also fields us. How we think-feel is a space-time of experience alters where and how we can experience it. This fielding is how Arakawa and Gins define a landing site.

Erin Manning. 

The decision of the landing site is its focusing into experience.

For Whitehead a decision is a becoming actual of a virtual potential, and decision is what gives the event form and by consequence creates an individuation. The decision is the separating off, the honing in that makes a particular tonality take form.

We Land into the focus of an awareness that becomes us.

Actuality is the decision amid potentiality. 

A decision creates the potential for consciousness, not the other way around.

Whitehead. 1929/Erin Manning-Interlude.

For Arakawa and Gins, landing sites corner experience in the making.

A landing site is an activity that is as expressive as it is organizational.

Apparatuses/Diagrams

Holding their form, their bodies pause, the camera waits for them.

In the work's final form, the force of its potential can still be felt, this is the works diagram.

The camera focuses these sites into an in-gathering that captures them as transitory thought-feelings. We feel the shift from dances in the making to haptic experiments in the viewing.

The camera works with the tensile activity of the dancers minimal gestures, moving now to one side as though filming four bodies in one, suspending our attention in tandem with the suspended bodies.

Sculpting in Time.

Films heavy with the languor of relationships forming between bodies, ground, and partitioned space.

For Tarkovsky, the presence of the camera is felt as though it were another body, forcefully moving us to watch, constraining us to see not only a location or a dance, but the tensile rhythm of groundedness itself. The camera bis not there only for the recording, it feels the weight of the waiting, physically as we watch. These shifting affective tonalities are landing sites. They are what Arakawa and Gins call a depositing of sited awareness.

Erin Manning.

Fielding Assemblage : Trace/Diagram/Canvas/Paper/Studio Wall

Textual/Conceptual Forces/Siting Awareness.

Cultivation Field Research Collage

Geological era 1800.

The deep intervention into nature by humans as biological and geological agents.

The Anthropocene denotes a new framework of thinking and action.

A space where the individuals mental reality meets 'cultural narratives'

Social Conditioning/Underpinning Education.

Spatial Register between Consciousness and Social Existence.

Windows/Boundaries between the personal and the commonly shared. 

Confessional Animal/Jean-Jacques Rousseau.

Corpus/The Individual Presence/Jean-Luc Nancy

Camera Obscura of Ideology/Sarah Kofman

Ceramic Diagram of Interlocking/Partitioned Spaces.

From Models to Drawings.

Spatial Tonalities/Affective Environments 

Filtered Light.

Sensing Places : Towards an Alchemy of Thinking.

Sensing Places : Towards an Alchemy of Thinking.

This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.

Dwelling Apparatuses, Heidegger.

RAVENINGHAM 2025

WORKING NOTES

Developing relations on the specificity of a landscape and the weather.

Construction site, towards an alchemy of thinking and making space and the instants of the wonderous.

Some ways of thinking.

Processes enabling situations through strange constructions.

Diffractive apparatus of components, materials and filtered light.

Explorative, site specific and performative.

A fictive space articulated through the alchemy of light and water.

Sensing space, seating for a site of speculative inquiry.

Material Matters : Architectural/Perceptual/Sensing Phenomena.

Correspondences, Human Bodies/Spatial Bodies.

Reflections/Movements/Environments/Landscapes

Using site as a research instrument, a compounded object of self assembly, and crafted components, materials and substances. A sculptural intervention, event based merging the poetic with the tectonic.

Apparatus/Device/Model.

Sensing composition, situating a site for speculative inquiry.

An exploratory and site specific installation that can open up our interior world to the proximity of both the situation of a natural environment and the experience of a conceptually made object/space that facilitates a sense of wonder, resulting in  an alchemy between these two realms of experience.

Art works constantly to  brokers these relations within us.

 

Curatorial Architectures/Assemblages : Transactive through interventions/a sensorium for display.

Matter/Making in Space : Passages in Sculpture

Working Notes 2018/19

Curatorial Architectures/Assemblages

Speculative Spatial/Curatorial Practices incorporating Fine Art and Architecture.

The Studio is no longer a retreat but it now integrates.

It is all exterior.

Ways of Curating, Hans Ulrich Obrist

Constructing active research material that becomes transactive through interventions and installations of display.

Blurring art and the everyday rituals of creative enterprise and survival.

Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.

Building Relationscapes

Movement, Art, Philosophy 

Sensorium

Embodied Experience

Technologies and Contemporary Art 

Erin Manning

Caroline A, Jones

Playing with INTERTEXTUALITY

Setting the Stage MAKE SPACE

Immersive

Alienated

Interrogative

Residue

Resistant

Adaptive

Interactive Workshop

Exhibition

Presentation

Open Texts

RESPONSIVE ENVIRONMENTS

ARCHITECTURE, ART and Design Interiors

URBAN FALLOW (10 Days in the Laundry)

OPERATIVE DESIGN

CONDITIONAL DESIGN

ON MAKING SPACE

THE FEELING OF WHAT HAPPENS

BODY, EMOTION and the Making of Consciousness

Art Practices : the chaos of subjectivity and the organisation of  a creative environment.

Molecular Sieve/Performative Apparatuses : CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES/10 DAYS WINCHESTER

Winchester - Hyde Abbey Laundry

The site of approximately 1,500 sq. metres comprises redundant industrial buildings and a yard at the edge of the city centre and close to the Winchester School of Art. The site is considered to be important in townscape terms and being vacant is an underused resource. The Laundry ceased trading in 2007 and has been empty since. It is a short walk from the city centre, near car parks, leisure centre, Winchester School of Art, the Colour Factory artists’ co-operative, but in an otherwise residential neighbourhood. The site consists of a large industrial space with high ceilings, a series of different sized workshops around this main zone, and on its upper floors, office accommodation, staff canteen and a workshop. The private owner and his developer wish to demolish the old buildings and develop the site for housing; however, WCC planning officers wish to see the site or part of the site, retained as offering employment within the city.

Urban Fallow could encourage the owner to consider live-work units and studios for artists to be constructed on the site and demonstrate that there is demand for this type of activity. The Council’s Estates, Arts Development and Economic Development staff have for some years, been looking for potential sites and business models to establish affordable studios in Winchester. While demand is known, the value of assisting in the establishment of such a scheme is unproven. Urban Fallow has the potential to provide further evidence and advocacy for a permanent studio facility on this site. Winchester City Council would want to work with Winchester School of Art (arts faculty of Southampton University) and the University of Winchester, and the Hampshire Economic Partnership as partners in this scheme.

The building in its present state, although unsuitable for most purposes, is viewed by creative practitioners from a range of practice, as having great potential as studio space (in great demand in Winchester where suitable premises are hard to find - and afford). In the current market conditions, the site is likely to remain ‘fallow’ for some time to come until these issues are resolved, and the market conditions improve.

 Urban Fallow will bring into sharp focus areas of vacant urban land resulting from the slowdown in construction and the halting of some major redevelopment and housing projects. It is important that these spaces, many of which are significant in both scale and location are not allowed to deteriorate and damage the public perception of a place. The project will reanimate these areas of land by offering them for use by artists, architects, performers and other professionals with an interest in engaging with the public to develop temporary events and interventions. As well as transforming the spaces and reducing urban blight, this project could also have the effect of reinvigorating interest and potential investment in the spaces, encouraging developers and local authorities to look at them again with renewed creativity and optimism.

Urban Fallow/Solentcentre for architecture and design aims to develop a pragmatic but fluid approach to public access, cultural intervention, use and temporary transformation of urban spaces.

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

CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES

between the concrete and the spatial

THE WORKING PRACTICE IS FUNDAMENTALLY SUPPORTED BY ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS

CAPTURED BY APPARATUSES  

Heuristic Practices : The trace/space of the anthropological

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge.

My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. 

A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. My practice has now entered into a process that proposes a site for research driven by condition of acculturation. This site of inquiry will attempt to set up an anthropological place of localised relations amidst the condition of Supermodemity.

This proposed temporal demarcation, a marking out of a territory which will become adaptive, reflexive and spatial. Sets out to engender the inquiry of the ethnologist, to attempt of rather to reflect on how the place is organised. This site marks a private acculturation of material sourced from the world, from a hermetic and esoteric realm of private geographies, now processed and made available, accessible to the social.

The observer in the role of the ethnologist with others is invited to formulate their own invention of place through their own curiosity of encounter. This demarcation of space into the social, anticipates an intervention which creates a common adventure for a group in movement.

An interesting comment about gendered space in classical literature examines the relationship between what might theoretically and spatially link the interior with its exterior boundary is to found Mythe et pensee chez les Grecs written by Jean-Pierre Vemant. In this account Vemant describes the spatial and social arrangements of the Hestia/Hermes couple. Marc Auge acknowledges this relation as

“Hestia symbolizes the circular hearth placed in the centre of the house, the closed space of the group withdrawn into itself (and thus in a sense of its relations with itself);

while Hermes, god of the threshold and the door, but also of crossroads and town gates, represents movement and relations with others.”2

Auge makes the critical point that in anthropology studied by both classic literature and history it is identity and relations that form spatial arrangements which are also inscribed in time. It is this time that materially renders the temporal dimension of these spaces and with it our reading of anthropology.

My earlier usage of long durational photographic devices (large pinhole cameras) was an attempt to realise the identity and relation of a place (its spatial activity and fixity) is totally contingent to its method of register and the particularities of fixed and temporal details. In fact these surfaces rendered from these devices are evidences of historical spaces of hidden social itineraries.

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.

2  Marc Auge, Non-Places, introduction to an anthropology of supermodernity. (London: Verso, 1992) page58.

Fragment, research/Mechanisms of Seeing/The Architecture of Image

Architectural Apparatuses of Affect : Daniel Libeskind/Small Voids/Cameras

light; the darkness is a silent solid, the light etches its surface, it is simultaneously sign and cypher. The light etching itself on the dark surface is akin to a revelation, an epiphany before the building is transformed by its users and movement.

Daniel Libeskind’s building will, when finished, offer a path for the visitor, the path of history that crosses the void of commemoration. This void is the body of an absence—that of the Berlin Jews who perished in the Holocaust. The void makes us meet this absence, but we meet it by passing through it. When an absence, in the form of a void, meets the surface of daily reality, memory marks that surface. The Holocaust has created such a void, which, in projects such as the Berlin Museum with the Jewish Museum, is brought to the surface and given a place and a house. The void intersects the surface of time and creates a place of passage, of commemoration, of ritual in our daily life. The void is linear sign: lest we forget. But the incisions in the walls of the main exhibition spaces, spaces which house the historical material about the city of Berlin, create voids through which light is let in. These calligraphic empty spaces create a near biblical writing on the wall.

Cameras consist of small voids, the ‘camera’, a lens and photographic film. They are camerae obscurae  that collect light and allow it to meet the surface of the film. But in fact the light comes from the larger void outside the camera. The moment the light has registered on the light-sensitive surface of the film, memories are constructed. The memory is literally conceived in this meeting and is added to life as an additional layer of being. The process through which void meets surface is therefore also about love—the love of ancestors and relatives, but also of life and its conception.

Russell Moreton, 10 Days in the Laundry

MOLECULAR SIEVE, is a performative analysis of “this place” utilising the simple properties of the pinhole camera. This appropriated apparatus makes visible the extrusive nature of time as it is deposited on the photographic surface. The extended durations required to register “place” impart a sense of dwelling as recorded by the apparatuses passive gaze. These surfaces record and register a relation constructed by the architecture of the chamber and what is beyond it. Movements when visible appear as simple abbreviated enactments caught like inclusions within this consolidated and timely consolation of place.

 

Time as it accumulates on a photographic surface.

This performative investigation utilizes a large pinhole chamber which is given mobility via a sack-barrow. This apparatus produces through its very inclusion into spaces a “spatial practitioner” in its own right. My aim is to utilize this device as a means of registering “worksites” both in the duration of the event and in its pre-performative state. The mobility of this research could be used to illustrate a constantly changing set of dynamics throughout the site and its event. The use of perhaps adjacent wall spaces or even a

“sandwich board” would render a tangible re-presentation of spatial information for the visitor. Darkroom facilities or conversely off-site arrangements would be organised.

Artist Statement 2009/10 Days

SITE is anti-place hovering precariously over the abyss of no-place.1

This “undoing of place” might instigate a threshold and a situation/room from which to reflect upon critical spatial, sociological and psychological conditions and perceptions.

Practitioner with earlier experience in ceramics and glass, recently completed visual arts course at Winchester, now at Canterbury studying spatial practices. Interested in drawing, photography and interventions that can explore our sense and experience of place. My work seems to harbour a need for a reflective solitude, a sense of dwelling amongst absences. The use of materials from the locality (field chalk) imply a personal geography drawn from the direct relationship to an inherited Earth. There is the suggestion that the absence recorded by the trace is an inclusion, a legacy set into a field of materiality, but it might also suggest a metaphysical field of thought. This act of drawing becomes its own experimental field of exploration, a sort of “in­ between reality"( Merleau-Ponty) an enmeshed experience. Perhaps all that remains is some sense of a material memory encountering the realm of the insubstantial.

Interested in collaborative projects and ventures that might facilitate issues of “site” as being the very undoing of place. Site for me is part of the rehearsal for the construction of place, site holds relations and intimacies/geographies that will be over-written by methodologies destined to be terminated to create place.

What is an Apparatus? Giorgio Agamben

by the term “apparatus” I mean a kind of a forma­tion, so to speak, that at a given historical moment has as its major function the response to an urgency. The appa­ratus therefore has a dominant strategic function.

I said that the nature of an apparatus is essentially strategic, which means that we are speaking about a certain manipulation of relations of forces, of a rational and concrete intervention in the relations of forces, either so as to develop them in a particular direction, or to block them, to stabilize them, and to utilize them. The apparatus is thus always inscribed into a play of power, but it is also always linked to certain limits of knowledge that arise from it and, to an equal degree, condition it. The apparatus is precisely this: a set of strategies of the relations of forces supporting, and supported by, certain types of knowledge.

I wish to propose to you nothing less than a gen­ eral and massive partitioning of beings into two large groups or classes: on the one hand, living beings (or substances), and on the other, apparatuses in which living beings are incessantly captured. On one side, then, to return to the terminology of the theologians, lies the ontology of creatures, and on the other side, the oikonomia of apparatuses that seek to govern and guide them toward the good. 

Radical Perspectives : Sky Watching /Outpost Studio Space

 Outpost 070922

Radical Perspectives.

Space-time Manifolds.

Intertwined cinemas within a bottle of light.

Fissure space reflection on underside of suspended cinemas.

Concept Studies/Diagrams.

Space was perceived by the body moving through time.

Parallax, Steven Holl.

Plastic Media

Performative Apparatuses.

The Observer and The Observed.

A return via the time exposures to the unexpected and a intricate order made up of  patterns, movements and constellations.

New thrilling metaphorical structures.

Beyond the purely visual, to get a flat surface to interact with physical phenomena, which would be recorded without any intervention or involvement. Photographic events in which some images recorded very determined fixed forms, and in other time-exposures the images became more about traces and about movement.

Susan Derges.

Infra-ordinary

Dust Breeding.

Giacometti's Cell/Studio.

A Species of Spaces.

Intra-acting

Contemporary Architectural Practices.

Spatial Practices/Visual Fine Art.

Quantum Superposition.

At the moment a measurement is made in Beijing, everything remains in quantum superposition with respect to Vienna. The equipment making the measurements, the scientists reading them, the notebooks in which they are written down, the messages in which the results of the measurements are conveyed, are all quantum objects themselves. 

Helgoland,Carlo Rovelli.

Quantum intra-acting

The concretization of  colour as substance/matter/movement/agency.

Beuy's brown and Klein's blue form a pair of opposites, according to the hermetic-alchemical world view, such opposites contain the arcane power of polar dissimilarity that seeks to be augmented and joined together.

Beuys Brown and Klein Blue, Magdalena Broska.

Elective Affinities

Susan Derges/Garry Fabian Miller.

The direct use of physical materials, the interest in systematic experimentation and a preoccupation with the fluctuating perception of events depending on the position of the observer and the nature of the light.

Through the realm of perceptual experiences.

Both art and science alter our perceptions and knowledge, whether from philosophy, science or the arts it filters down into our general awareness to affect our world view.

Wondrous essences put back into existence, through re-achieving a direct and primitive contact with the world.

Plastic media, time based immateriality.

Surface interactions produced from physical phenomena made visible.

Metaphors for phenomena

Patterns as either/both particles and waves.

Unknowing Expectation.

Prints of a scientific exactness.

This reduction of process down to such a simple method.

He felt amazed by the clarity of the procedure, it seemed incredibly releasing and radical, and something to aspire to.

Working series that focusses on the immense through engagement with the specific. 

Homeland, the body gains access to the world as a way of living and working.

Making a garden after the making of the mornings pictures, feels like the right way to fill the hours which remain in the day.

Field Studies/Kilquhanity.

Building template for positioning of circulatory pathways.

Garden drawings and sculptural mappings of the passage of sunlight.

Shifting relationships of the real world have been assimilated into her imagery.

In particular her world view was affected by the ideas of contemporary physicists.

New possibilities for plastic media has been that phenomena are no longer seen as static entities in space and time, but as dynamic and interrelated with specific structured laws and principles.

The Darkroom as cell and workroom, a room apart from the world.

Science, Order and Creativity.

David Bohm.

The Implied Observer

Towards an understanding of how matter comes to matter.

Performativity is precisely a contestation of the excessive power granted to language to determine what is real, performativity is actually a contestation of the unexamined habits of mind that grant language and other forms of representation more power in determining our ontologies than they deserve.

Thingification, the turning of relations into things, entities, relata, which infects much of the way we understand the world and our relationship to it.

In Posthumanist Performativity, Karen Barad advocates agential realism as an alternative to representationist ontologies that split semiotic from material reality.

Barad argues that matter is not a substance but an intra-activity, and that agency is not an exclusively human attribute, but rather the enactment of iterative changes across macro/microscopic levels of matter.

Matter is performative in that it reproduces itself through the effects of its own intra-active dynamic material relationships. Relata do not pre-exist these relationships, but emerge through them in the fluid, diffractive boundaries that crystalize phenomenon/matter into things/thingification that are positioned in a spatial-temporal affective relation.

The subject/object dichotomy is performatively enacted through the specific spatial temporal proximity between the two necessary for apprehension, in which the approximal relationship through which subject and object emerge. The cognitive split that constitues the I is a discursive practice called the agential cut which is a conception of separability between one thing and another that grants the illusion of agency.

For Barad, discursive practices are not only linguistic expressions of human language, but extend to other material specific practices of intra-action entangled with other intra-actions that produce material phenomena. The material apparati which constrain, but do not over determine these practices find within their own diffractive limits possible dynamic reconfigurations of the world.

Because being is not a static relationality but a doing, that always entails constituting exclusions, a posthumanist engagement with performative matter must not only account for the sites of human/non human cuts, but also challenge the ethical stakes of such cuts.

Summary Notes : Karen Barad, Posthuman Performativity, S.A. Colclough.

Intra-actions produce material phenomenon.

Assemblages/Architectural Prototyping : Formative Ideas.

 Outpost 220922

Architectural Prototyping.

Formative Ideas.

Setting things adrift in the direction of other assemblages.

The Refrain. 

Deleuze and Guattari.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound, a moment of pure presence.

The Wonder of Minor Experiences.

Jane Bennett.

Enchantment requires active engagement with objects of sensuous experience, it is a state of interactive fascination.

Capacitive Environments, a building that seeks to both communicate with its users and provide a spectacle for onlookers.

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

Constructional mock-ups used to determine the optimal installation of the ETFE cushions both to the substructure and between adjacent frames.

Asif Khan. Beatbox Pavilion, London 2012 Summer Olympics.

The Blueprint : Map 2, creative designations. 

Mapping hidden spaces between precision and indeterminacy.

Spatial Agency/Issues of Relational Spaces.

Collage/Cognitive Mappings.

Discursive spaces between agencies/representations.

The Stride of The Mind, Patti Smith.

Formal qualities/events between materials

 Outpost 150922

Drawing Space.

The Material Discursive. 

Figurative Configurations/Bodies and Landscapes.

Jenny Saville.

Intimate Drawings

Wall Scratchings

Situatedness of intra-activities.

A matrix and an archive.

It was the crucible of his art, and one of the most hauntingly eloquent spaces an artist has ever surrounded himself with.

In Giacometti's Studio.

The hermit's cave.

The alchemist's cell.

The chemist's laboratory.

Correlations do not become real, relational until the signals arrive.

Becoming Real.

The Exchange of Signals.

Framing Entanglements.

The Concretization of the Colour.

Nothing travels instantaneously and an exchange of signals is an interaction, where new elements of reality come about.

The joint properties of two objects exist only in relation to a third.

Everything that manifests itself does so in relation to something, a correlation between two objects is a property of the two objects and like all properties it exists it exists, is existential only in relation to a further third object.

Entanglement is not a dance for two partners, it is a dance for three.

Entanglement is none other than the external perspective on the very relations that weave reality.

The manifestation of one object to another in the course of an interaction in which properties of the object become actual.

Working notes/fragments.

Helgoland, Carlo Rovelli.

Lead label reads/stamped with “dwelling is always dwelling in nearness, Heidegger”.

Counterpoints/Contrapuntal Movements. 

ENMESHED EXPERIENCES

WORKING WITH DOUBT

DURATION

THE FLUX OF A VECTOR FIELD

PARALLAX.

The existence/trace/invisibility/of a third object that interacts with both the systems is necessary to give reality to the correlations.

Resultants that incorporate the friction/asperities of their trajectories through medium/material.

Building as a body, a battleground of invisible forces. 

The spine is the central elevator. The structure is a tube of concrete covered with insulation and tarred black wood boards.

Steven Holl.

Knut Hamsun Museum, Hamarey, Norway. 1996

Monumental sculptures take the form of vast, spectral structures built from corroded, sinewy metals and disintegrating found objects.

He seeks inspiration from sources that speak to the expansive, cyclical nature of the universe. 

Kiefer looks to Norse mythology, Hebrew folklore, alchemy and theoretical physics to build dense imagery that is too often interpreted as simply apocalyptic.

While some might see wastelands and abject destruction, Kiefer sees vitality and resurrection. This attitude extends to the physical properties of his paintings and sculptures.

He embraces the ravages of time, while others might strive to suspend it in an effort to preserve a moment of imperceptible genius. Instead, his art buckles and shifts, constantly evolving and reforming under the burden of its own existence.

Artists on art, Holly Black. 2021

Sky Correlations

Cloud Space.

Particle Speculations

Seed Dispersal

Panspermia 

Granular Gardens

Third Spaces

Spatial Vectors/Constellations.

Observational Blueprints/Apparatuses.

Pierced Constellations.

Vectors for Entanglements.

Spatial Agency.

Sunlight Circulations.

Daylight Drawings/New Worlds.

The Spab Magazine

Autumn 2022.

The Living and the Dead, 2017-18.

I am not interested in conservation.

If something falls down, it has meaning.

Anselm Kiefer.

Organism, Person, Environment.

Bioscleave, Architectural Body, Gins, Arakawa.

Time as experienced duration is relative to an individual and to a space.

Constantin Brancusi's studio and Endless Column, fabricated as a timepiece, where the finite time of place and culture is counterposed to infinity.

Visual substance, causal doing, investigating, agency, matter, phenomena, material discursive, iterative, creative, apparatuses, intra-activity, performativity, bodies that matter,