Outpost 260823
Clay-Drawings at Bayfield.
Observatory/Propositional Assemblage.
Animacy, surfaces/things that have opened up their surroundings.
The living body is only sustained thanks to continually taking in materials from its surroundings, and in turn discharging them, in the processes of respiration and metabolism.
Yet as with pots, the same processes that keep it alive also render it forever vulnerable to dissolution. That is why constant attention is necessary, and also why bodies and other things are poor containers. Left to themselves, materials can run riot. Pots crumble; bodies disintegrate. It takes effort and vigilance to hold things together, whether pots or people.
Bodies on the run, Tim Ingold.
Itinerant Correspondences/Drawing and Telling.
Thinking From Things.
To think from materials, to find the consciousness or thought of the matter-flow.
Deleuze and Guattari.
The living work of art, however, is not an object but a thing, and the role of the artist is not to give effect to a preconceived idea but to follow the forces and flows of material that bring the work into being. To view the work is to join the artist as a fellow traveller, to look with it as it unfolds in the world, rather than behind it to an originating intention of which it is the final product. The vitality of the work of art, then, lies in its materials, and it is precisely because no work is ever truly 'finished' (except in the eyes of curators and purchasers, who require it to be so) that it remains alive.
Tim Ingold.
The Telling of Stories is an Education of Attention.
Making Through Anticipatory Foresight.
To tell, in short, is not to explicate the world, to provide the information that would amount to a complete specification, obviating the need for would-be practitioners to inquire for themselves.
It is rather to trace a path that others can follow. Thus the hunter, educated in stories of the chase, can follow a trail; the trained archaeologist can follow the cut; the competent reader can follow the line of writing. Making their ways in the company of those more knowledgeable than themselves, and hearing their stories, novices grow into the knowledge of their predecessors through a process that could best be described as one of 'guided rediscovery' rather than receiving it ready-made through some mechanism of replication and transmission.
Tim Ingold.
In place of specification without guidance, the story offers guidance without specification.
Sensing Spaces
Making
Thresholds
The Materials of Life
Are you interested in the idea of threshold?
What is interesting in the world are the grey areas. So what I have designed is a threshold. It's not possible for an architect to design a space – such a concept does not exist. Instead, we design the thresholds and the limits: the walls, windows, doors and so on. And people have feelings about these elements and put them together and create the sensation of a space. I'm interested in designing the elements that give the impression of a space – which is why I like doors.
The dialogue between the container and the contained, the boundaries and the space within them, is an obsession in contemporary culture, where the node is more important than the object. That's why architecture must work at the limits, not invent the shape and language but straddle two worlds, on the knife edge.
A door is usually part of a wall, but you have extracted this element from the wall.
Kate Goodwin, Alvaro Siza. Sensing Spaces. 2014.
Telling By Hand.
The Humanity of the Hand.
The Eyes of the Skin.
Jacques Derrida holds that the proper function of the eyes is not to see but to weep. Behind the veil of tears that blurs the vision of the sighted, the eyes can tell of grief, loss and suffering, but also of love, joy and elation. Even the blind can weep.
Figure 2.3 Consciousness, materials, image, object: the diagram
Making/Flow of Consciousness/Materials into and across Image/Object
Experience can only be understood between mind and body or across them in their lived conjuction.
Merleau-Ponty.
Telling By Hand.
The Tacit Dimension : That we can know more than we can tell.
Polanyi is primarily interested in what it means to know, his reflections of personal knowledge assume that telling is tantamount to putting what one knows into words, in speech or writing, and that this entails two things: specification and articulation.
Michael Polanyi.
Tim Ingold, interested in 'performativity' what it means to tell, going beyond the 'predictive' nature of what it means to know.
Ingold argues that we can tell of what we know through practice and experience, precisely because telling is itself a modality of performance that abhors articulation and specification.
The figure of the silent craftsman who is struck dumb when asked to tell of what he does, or how he does it, is largely a fiction sustained by those who have a vested interest in securing an academic monopoly over the spoken and written word.
Specifications provide information about the specified, about the materials to be used, about parts and their dimensions, about movements to be made. They define a project. But stories issue from moving bodies and vital materials, in the telling. They lay down an itinerary. It is precisely because both their knowledge and their practice have the same itinerant character that ,in storytelling, practitioners can bring them into correspondence with one another.
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