Biosphere/Archipelago : Sun Drawing/Cyanotype/Spheres of Activity

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings, 

precision and indeterminacy, human form, ecology, 

environments, contemporary art practice

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave

Procedural Architecture/Architectural Body

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins, 

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists, 

Hyde Writers, collaborations. visual art, poetry

Diffracted Bodies~Matter(s) in Movement : Speculative~Performative Space~Time Drawings

Evidencing Atmospheres/A Calling To Think.

Reading diffractively through reimagined patterns/atmospheres that penetrate the body-text-space-time compositions. 

Spatial blueprints/propositional and emergent diagrams on speculative readings from The Order of Time by Carlo Rovelli.

Apparatuses and Intermediaries.

Everyday Practices, Harleston. 2022

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

Drawing Projects/Architecture is a verb : Blueprints for thinking and making.

 Outpost 111023

What we have to remember is that what we observe is not nature itself, but nature exposed to our means of questioning it.

Werner Heisenberg.

Fields of Care.

The metaphor of the container and the contained that has guided Western thought with its vocabulary of inert matter, fragmentation, and frozen and petrified movement has crippled the architectural imagination for over two millennia.

Architecture Is A Verb, Sarah Robinson. 2021

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

Drawing Projects.

An exploration of the language of drawing.

Mike Maslen, Jack Southern. 2011

The Eye That Feels.

We must learn to think with our feelings and feel with our thoughts.

Towards A Feeling Response.

Human beings are lumps of perceptions in a state of flux, and 'being' is a constantly changing state of infinite variety. Drawings are made by human beings and like their makers, they can be complex, somewhat vulnerable, unresolved, and imperfect. Equally, they can be confident, measured, controlled, well understood and decisive.

A drawing is a lexis of marks that represent and describe what our eyes see, and to some extent what our minds/bodies know and feel. It is made by the co-ordination of the eye/brain/hand/medium, and arranged in an organised and cohesive way to form a visual description/illusion. It is a trail of contained energy, incorporating the history of its own making, and recorded through a passage of time. It is an approximate attempt at depicting a perceived truth, and will have been made in either a confident, cautious, well seen, well understood, generalised, decisive, indecisive, 'right', or 'wrong'way.  

We live in an age when computer generated reprographic processes provide us with a world of 'technological perfection' and 'high definition'.Three-dimensional imagery offers limited, but enhanced and often 'super-real',virtual reality. It is a time in which the large flat TV screen is providing our children with replacement substitutes for what might to a previous generation have been exposed to, and an active involvement with, an experience of rich sensory pre-verbal childhood play. It is more important than ever that, in this world of 'perfect reproduction', our children do not literally get 'out of touch' with their senses, and that a drawing retains its value as a unique, hand-made object, which contains and expresses qualities that are as individual and special  as its creator.

The Body/Corporeality of Drawing.

Seeing/Becoming/Situatedness

The process of making is a magical act, organic and physiological.

The drive to create a cosmos originated in the magic structure of consciousness.

All basic physical and mechanical laws, such as leverage, traction, bearing, adhesion, all constructions such as the labyrinth, the vault, all such technical achievements or discoveries are pre-given to us. Every invention is primarily a rediscovery and an imitative construction of the organic and physiological.

The Ever Present Origin, Jean Gebser. 1984

All arts we must remember, are phases of the social mind. We are in the habit of thinking of them in terms of art products that we forget that the arts themselves are groups of ideas and acquisitions of skill, that exist in the minds, muscles and nerves of living human beings.

Franklin Henry Giddings. 1914

The earliest buildings are grown, they are woven structures. Borne of gathering around a fire and weaving walls.

Understanding Building as Weaving.

Gottfried Semper.

Architecture is a verb outlines an approach that shifts the fundamental premises of architectural design and practice. 

It acknowledges the centrality of the human organism as an active participant interdependent in its environment.

It understands human actions in terms of radical embodiment, grounding the range of human activities traditionally attributed to mind and cognition, imagining, thinking, remembering, in the body. 

It asks what a building does, that is it extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, and how they shape thought and action. 

It is committed to articulating concrete situations by developing a taxonomy of human building interactions.

Sarah Robinson. 2021

Homo Faber.

Architecture shapes ideas, ideas are born through the act of forming.

Thinking and making have traditionally been relegated to two different domains and like architecture and building the former is privileged over the latter. 

Seldom do we consider the act of making as a method of knowing. For Tim Ingold, both the maker and the theorist are engaged in processes of knowledge, with the important difference that the craftsman thinks through making, while the theorist imposes thought on matter. 

The temple at once embodied the interdependent arising of craft and community, and replaced the caves and sacred  groves of earlier divine appearances, to become a place apart. 

A crafted place where divinity was revealed. The world appeared for the first time through something people made. Through building the temple, cosmos was discovered through making.

The top-down abstract knowing of the theorist verses the bottom-up embodied knowing of the craftsman has come to define our hierarchy on the valuation of knowledge.

The Origins of Architecture in Weaving.

They Wove Their Walls.

Vitruvius.

Tim Ingold comments that just as baskets are woven, so buildings are grown, not built. Their form, and its usefulness emerges from the process of growth rather than from the mandates of a preconceived design on formless raw material.

Materials are not understood in terms of their component parts, but in terms of what they do.

Making is not a matter of imposition, but of intervening in the fields of force and flows of material.

Cyanotype processing of architectural drawings.

Blackboard/Whiteboard Fragments.

Organism/Person/Environment.

DSC_2068 Structured Modalities : Rules/Individual Resources

Braking down research.

Radical pedagogy transduces rather than transmits.

Re-combinent poetics/praxis.

The Architectural Scriptorium

The Photographic Darkroom.

Spatial Diffractions : Architectures of Exclusion

 Outpost 280922

Peripheral Vision : Relationality.

Categories and things may make it easier for us to grasp reality, but they also hide its underlying complexities.

Robert Cooper, 2005.

Developing a constitutive nature within practices.

Qualitative Reseachers.

Entangled practices are productive, and who and what are excluded through these entangled practices matter, different intra-actions produce different phenomena.

It is in and through an understanding of these entangled practices presented by Barad that we can begin to understand how diffractive readings can help us in our work as qualitative reseachers to produce knowledge differently.

Interactions Matter.

Spatial Agency.

Walking 

Wayfinding in the City.

Thinking intra-actively.

Thinking with Barad's intra-action helps us fashion an approach that re-inserts the material into the process of analysis. It is a reclaiming of the material absent in its modernist limitations. It is the work of Karen Barad and other named as 'new materialists, or material feminists' to ask how our intra-action with other bodies (both human and nonhuman) produce subjectivities and performative enactments.

Such questioning shifts our thinking away from how performative speech acts or repetitive bodily actions produce subjectivity, but also how subjectivity can be understood as a set of linkages and connections with other things and other bodies, both human and nonhuman.

The Discursive Text/Material.

Phenomenology is interested in the now, what we see, how we perceive, and how those perceptions shape or come the world that is constitutive both of our environment and us.

The Keatsian concept of negative capability, that of being with uncertainty, of seeking to transcend and revise contexts, to reject constraints and open up dialogue as a throughfare for all thoughts, to ask questions and develop empathy.

John Keats 1795-1821.

Local artists and writers respond to the University of Winchester's

Magdalen Hill Archaeological Research Project.

On-site, co-directors Dr Simon Roffey and Dr Phil Marter talk about process.

A negative, destructive archaeology of taking away, of context sheets for a cut (negative) or a deposit (positive): how the processes are physical and sensory as well as interpretative, how their work is forensic, piecing together, visceral, more instinct than intellect, tactile and haptic, sculptural, revealing, never final, and as much an art as a science.

The Parallel Visions of Artists and Archaeologists.  

The artist's role here is to bring their own kind of knowledge setting aside logic and reason, to use the imagination and senses, to express through body and mind, the self, the messiness and uncertainty evoked by these material traces, mystery and wonder.

Colin Renfrew, Figuring It Out, 2003.

Spatial Diffractions in Interior Design.

A final diffraction is to think about how the office space itself creates a diffraction.

The office door, the opening, the threshold, can be viewed as the place through which waves pass, creating a diffraction.

This diffraction passes both ways: in inviting those who enter and those who fail to enter.

This opening further serves to reconstitute the office door as a threshold to be crossed, or as a threshold that welcomes. One invites, the other excludes.

We presented examples of how Sera and Cassandra were produced differently through intra-actions with office space, other bodies, clothing, and furniture, and similarly how their entanglement with these material fixtures resulted in a mutual constitution of the material and discursive.

It is through an enactment of a diffractive analysis and a re-thinking of our relationship to/with data, and to/with the material in our research sites, that we see much productive potential for research methodologists.

Project Spaces/Presentations.

Diagrams, maps and charts are all a symbolic depiction that emphasises mapping relationships.

Keywords: Agency, Spatial Agency, Practice, Making, Architectural Body,Relational Movements,Outreach, Urban Walking, Interactions, Cultivation Field,  Foraging, Finding, Gathering, Harvesting, Organism, Person, Environment, Anthropology, Archaeology, Art, 

Sculpting in Time/Other Worlds : Introduction to Tarkovsky's Solaris by Will Self

Between Art and Architecture : Studio Processes

 

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

Outpost 310522

Painting is a visual experience. People can write about historical or philosophical points they want to get across using certain examples of painting, maybe work that they think might be similar.

They could make a point in so doing, but it usually has very little to do with the painting itself. 

I do something with the paint, but I'm not painting a picture of anything.

I'm not manipulating the paint into an illusion of something other than what the paint does.

I make a painting.

Robert Ryman on the Origins of His Art.

David Carrier,Robert Ryman. 1997

Ferini Gallery

Prussian Blue

Material Immediacy

Matter and Mutability 

Strange visual spatialities

A space of time and the capacitance between things

Cyanotype postcards of phenomena

Botanical, Astronomical,

Flesh of the film

Subjectivity in forsaken spaces

Robert Ryman

USED paint, Suzanne P. Hudson. 2009

About the 'how' of the material.

Exploration on the nature of paint.

Primer

Painting

Support

Edge

Wall

Edward Thomas

Eno, vessel on a milk white sea

The clay produces an abstracted division of space, letting the material find ones boundary.

studioUS artwork submission

Listing for exhibition at PRIMEYARC, Market Gates, Great Yarmouth.

Studio 3.16 Spatial Apparatus

This large mobile pinhole camera has been used to inquire into the nature of photography and the intermingling of movements and things. The apparatus is used within my art practice which is centred around making, interior design and teaching.

Key Words, temporal agency, spatialities, environs, art practice, apparatus, photography,

Locality/Social Complexity and the Everyday : Works on Paper

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light, Cyanotype Process

Locality/Social Complexity- Works on Paper

DSC_6026 Hortus Conclusus













https://www.flickr.com/photos/russellmoreton/42235368954/in/dateposted-public/

Objects and Traces : Visual Archaeology/Morn Hill Abstractions/Winchester.

Objects and Traces : Visual Archaeology, a photo by Russell Moreton on Flickr.

Process and Agency 3.

Process and Agency 3., a set on Flickr.

Pleiades (detail) from a star chart superimposed over a figure

Pleiades (detail) from a star chart superimposed over a figure, a photo by Russell Moreton on Flickr.

"the unmade daisy chain"

Seven "acts" around a simple gesture recorded through the cyanotype process.