Correspondences~Relational Fields : Other Affordances : Analogous Experience~Clay~Thinking

Clay~Making : The Analogous Atmosphere of  Experience.

Clay+Ceramic : Immersed in a self entertaining relational field.

Clay Based Practices : Ecologies~Things Emerging in Relation.

Asking how making is a thinking in its own right, what else that thinking can do?

Erin Manning. 

Poetics of Spatial~Small Gestures

For Bachelard : Reverberations~Conduits between philosophy~poetic writing relations of human and spatial bodies.

The artwork featured in the image is titled "Apparatuses: A Litany of Echoes~Resonances" by the visual artist Russell Moreton. 

Artist's Practice: Russell Moreton is a visual fine artist who explores themes surrounding "making," architectural space, and the interplay of materials like clay to demarcate and construct environments.

Materiality: His work frequently investigates the imprint of the artist and the metaphysical, immersive nature of his chosen media, often utilizing processes that evoke construction and the physical manipulation of materials.

Architectural Inspiration: Moreton is notably drawn to the solitudes of libraries and the sounds of construction, often using his practice to engage with the concept of architecture as tranquility.

The Poetics of Space : The house, from cellar to garret. The significance of the hut.

"He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar."

Gaston Bachelard.

 

"All religions, nearly all philosophies, and even a part of science testify to the unwearying heroic effort of mankind desperately denying its contingency."

Jacques Monod,

The Human/Straw Dogs, John Gray.

AI Overview

This artwork is a sculptural assemblage by Russell Moreton, featuring ceramic vessels and forms. 

The work explores themes of reverberation, innerness, and volume through a processual approach to clay. 

Moreton's practice investigates the interconnection of making interior spaces, demarcating and folding material into spatial forms. 

These pieces are described as 'extreme atmospheres' or 'fired clay labyrinths,' utilizing textural surfaces and industrial-like perforations

Studio Spaces~Blue Sympathetically : Historical Spatial Frames/Registers

Blue Sympathetically : Engaging with the unknowable at the heart~midst of experience.
Studio Spaces : Historical Spatial Frames/Registers.

Alternative Photography

Documents from research archive

Tracing Light : Petworth House, West Sussex 2000

David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci

For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun inthe system of perception'.

Mutations Of Light

Petworth Window, 6 July 1999

Light's Windows And Rooms

Passing towards the Invisible.

The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent  theme in William Henry Fox Talbot's early speculations.

CATCHING THE LIGHT

The entangled history of light and mind

Arthur Zajonc

BROUGHT TO LIGHT

PHOTOGRAPHY AND THE INVISIBLE 1840-1900

Sight Unseen

Picturing The Universe

Corey Keller

Invisible objects, penciled by nature's own hand.

In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself'.

The Social

Photographic Eye

Jennifer Tucker

Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.

An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand. 

Invisible Worlds

Visible Media

Tom Gunning

William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer

On Vision And Modernity In The Nineteenth Century

Jonathan Crary

The Camera Obscura and its Subject

Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world. 

UNDER THE SUN

By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light

David Alan Mellor

Christopher Bucklow , Guests

Jeanette Winterson, Gut Symmetries

Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

From The Adamantine Land

Variations on the art of Christopher Bucklow

David Alan Mellor

Etienne-Jules Marey

A Passion For The Trace

Francois Dagognet

Painting, Photography, Film

Laszlo Moholy-Nagy

A Bauhaus Book

L. MOHOLY-NAGY:

DYNAMIC OF THE METROPOLIS

SKETCH FOR A FILM

ALSO TYPOPHOTO

OSKAR SCHLEMMER

MAN

Interaction of Color

Josef Albers

The Elements of Color

 Johannes Itten

Pedagogical Sketchbook

Paul Klee

The New Landscape in art and science

Gyorgy Kepes

The Colour  of Time

Garry Fabian Miller

The Majesty of Darkness

Adam Nicolson

The Unmade

The Pregnant

The Half Erotically Unmade

Camera Obscura of Ideology

Sarah Kofman

An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.

I Am Not This Body

Barbara Ess

Site with scripted interest : The Minor Gesture.

Visual Minor Keys : Sympathies of colour thoughts in a relational field.

Leylines : Modes of Articulation~Speculative Making

Research~Creation : Art Begins In the Manner~Way of Practice.

Clay Matter(s) as innate knowledge, intuition, speculation.

A Serious Place : Pronouncements of both play and inquiry.

Artist's Book. Collage and drawings, research images from Josef Albers.

The Call of Indigenous Philosophy as story, as performance, as practice.

Modes of Articulation~Speculative Making.

The Cathedral~Weathered Experience/Sympathy : Human Occupation/Liminal Rites of Passage.

Weathering Experience with Fired Clay : A Lined Surface~Making Feelings

The Cathedral: Human Occupation/Liminal Rites of Passage.

"Memory records an insignificant minuscule particle of the past."

IGNORANCE. Milan Kundera 2002.

Coiling Over.

Tim Ingold.

How things can offer themselves to one another on the inside. How they can join 'with' rather than join 'up' in sympathy rather than articulation.

Its surface is textured, like a veil, by dint of its long endurance of the atmospheric elements. That is its weathering, a lined surface that greets the digits of the archaeologists hands, and joins them in the movement of (making) feeling.