For Manning, Arakawa and Gins, the challenge is that the procedures of a procedural architecture (its architecting) must continuously be reinvented to stay apace with the architecting of experience. And this procedure must be crafted with care, it must be relevant to the conditions already at hand.
Dress Becomes Body in The Minor Gesture, Erin Manning. 2016
Making does not proceed by repeating the same gesture. Each iteration alters the conditions of the next. Clay enters this movement through hand, body, thought and situation, becoming something between procedure and event. The ceramic body gathers these repetitions without simply resolving them. What persists after firing is not a record of process alone, but a changed material condition: an encounter carried forward.
This is a key bridge between your older language of process / iteration / procedure and the newer language of correspondence / becoming~in~touch.
Affective~Ecologies~Immersive Atmospheres.
Matterings~Un-doing theory into the making of the everyday.
The Anthropology of Skill.
Architecting with experience.
On the distinction between Art and Technology.
Yet speech is no ordinary skill. Weaving together in narrative, the multiple strands of action and perception specific to diverse task and situations, it serves, if you will, as the 'Skill of skills'. And if one were to ask where culture lies, the answer would not be in some shadowy domain of symbolic meaning, hovering aloof from the 'hands on' business of practical life, but in the very texture and pattern of the weave itself.
Tim Ingold. Beyond Art And Technology.
Circulation Diagram~Lines of Flow amongst Clay.
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2025 Diary Content.
May 26 - June 1
Readings and their speculations of theory into the realm of everyday practices.
Interior Spaces.
Infra~Bodies of Immediacy
Becoming Volatile, matter(s) entering into movement, creating in~with bodies.
The permanency of ceramic objects both reflect and indexically link clay with its very nature of uncertainty and change through the very extreme and volatile processes of firing.
Clay is about the primacy of the corporeal human body as it attempts to express~abject itself through bodily metaphors or nesting, dwelling, nurturing and enduring.
The Inner Life of Pots~Ceramics
Tunings~Innerness~Thresholds~Change
Sounding Voids/Muted Light
Brian Clarke
Concordia
Film, analysis, organisation of human access, wonderous, the best of myself.
Elements of flight, collage, and sensate fictions.
Hannsjorg Voth
Working with intensity(building structures)
Architectural Reflexive Spaces
Inhabitation's into the continuous weather world.
Landscapes~Making~Building~Ecologies
Innovative Objects~For Critical~Philosophical Thinking~Living.
Cognitive nature~potentiality of matter(s) of making worlds.
Tectonics materials, matter(s) of wood, light, clay and water.
Outposts, observatories, places of inquiry, dwelling, self builds.
Independent researcher, artist in residence, works manager, project development.
Constituting Consistencies.
Bodily/Corporeal Metaphors, Analogies and Poetics.
Calvino, exactitude, lightness, quickness, visibility, multiplicity.
First constellation — Ceramic Bodies
Making Matter(s)~Truth
Overspilling Forms
The Ceramics Reader / Brickyard Ceramics
Making Iterations / Procedures
Working Notes : Clay, Interior Skins of Light and Dark
This is probably the hinge of the constellation.
It contains several things that are now central to your practice:
clay entering movement
bodies
iteration
care
experience
interior spaces
thresholds
the inner life of pots
material uncertainty
ceramic permanence
architectural space
The particularly important passage is where the post moves from the volatile nature of clay into the permanence of ceramic, while retaining uncertainty and change within the fired state.
