Outpost 140323
Wonders On The Periphery Of living.
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https://www.flickr.com/photos/russellmoreton/
The Wonder Of Minor Experiences.
A Brief Phenomenology of Enchantment.
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.
Jane Bennett.
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 its presence for a time in which the mind does not move on by association to something else.
Philip Fisher.
The dialectical principle of the intertwining of the world and the self.
My body is made of the same flesh as the world, this flesh of my body is shared by the world and the flesh of the world or my own is a texture that returns to itself and confirms to itself.
The Intertwining-The Chiasm.
The Visible and the Invisible.
Merleau-Ponty.
The Concept Of Sculpting Invisible Materials.
Intervals/Sequences/Iterations : Between Drawings/Templates/Prototypes.
The Eyes Of The Skin.
Critics of Ocularcentrism.
Juhani Pallasmaa.
Merleau-Ponty speaks of the ontology of the flesh as the ultimate conclusion of his initial phenomenology of perception. This ontology implies that meaning is both within and without, subjective and objective, spiritual and material.
Richard Kearney.
Sculptural Spacings/Bindings.
Creativity, materials/matters of concern caught around the creative act of a self amongst others.
Temporal Interrelations.
Adaptive Bridging Strategies.
Playing with materials, to bring forth the synergies of thinking/making/imagination.
Working so as to form or 'seed' gaps amongst the process of exploration.
The display of agency, of un-learning perspectives, discontents, alterity and literal landscapes.
Sites of sensual engagement through alternative forms of individual and social participation.
Energies, entropic to living things.
Natures/Intellectual Spaces.
Indexical Traces/Flows of Energy.
Artists/Makers on the process of material transformation, mobility, thought, body, through an embodied/subjective/multisensory experience.
Raveningham, allows the thinking of the existential qualities of natures materials in an intimacy/nowness with the natural world. An enmeshed world, working on natures terms, of movement, change, life, growth, and decay.
For Olafur Eliasson, the practice sets out to examine the way an embodied sense of a place can be restructured as a function/site of a sculptural spacing that questions ideas around embodiment, perception, architectural programming.
The landscape without objects/without hylomorphic thinking.
Tim Ingold.
The Periphery.
Frontiers and their Disappearance.
Borders and Limits.
Wim Nijenhuis.
Individuation, the process of 'becoming something' and the 'being there' of 'something.'
Modern information theory claims that both the clay and the mould are engaged with matter and form. The clay is in a metastable state that possesses potential energy, unevenly distributed, but capable of effecting a metamorphosis. This quality of the clay is the source of its form. The mould places a limit on the expanding form of the molecular organisation of the clay as it fills the mould. The mould does not form the clay passively, but communicates a resonating action throughout the clay that alters the clay's molecular organisation.
Paul Virilio, distinguishes two orders around the frontier, that of place, characterised by a stability of form, and that of speed, characterised by the fading of form.
Primarily the city is formed and informed by heterogeneous speeds, by the difference between inertia and traffic, the form of the city is thus finally an unstable effect. The city exists through traffic in all its forms.
Keywords : Vectorisation, Distinctive Oppositions, Hylomorphic Schema, Form-Matter-Model, Place, Speed, Inertia, Traffic,
New Figure/Grounds.
Geometric marks, vectors across a surface that might suggest some opaque system of musical notation, of points/notes connected forming a constellation of lines and angles. Workings on and between that are synonymous with the field/environ of the canvas, in such a way as it is no longer possible to speak of the classical figure ground relationship.
The Luminescence of Space.
Towards a more delimited spatial conception, a loss of centre.
Charles Maussion.
Rethinking, gestural, expressionistic, lyrical abstractions, atmospheric figuration.
Keywords : Colour Field Painting, Lucio Fontana, Mark Rothko, Orhon Mubin, Spatial Conception,
