FORMWORK / ENCLOSURES / ITERATIONS / THINKING FORMS~The Minor Gesture : Material Agency as Cognitive Scaffolding

Making~Intensified Surfaces of a Transdisciplinary Spatial Inquiry.

https://axisweb.org/artist/russellmoreton

The 'exigencies' of the situation at hand.

Tim Ingold, MAKING. 

Clay becomes a procedural matter of concern(s).

Spatial Intelligence/Architectures

Abject (ion) Body and Matter in Process/Processual Relations.

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 

Indexical Drawing : Pencil, Wax and iron oxide on paper. 240x150 1008

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

IMMATERIAL / REPETITION / SINGULARITY

ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments

Mediating the experience of LANDSCAPE

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION PIERCED  DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW / SURFACE

EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES INDEXICAL / GESTALT  VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

Without opposition nothing is revealed,

No image appears in a clear mirror If one side is not darkend.

Jacob Bohme, De tribus principiis 1619.

Everything is interrelated and suffers when it acts, so too the purest human thought. Holderlin, 1798.

Getting Lost, Walking whilst deep in thought/embodiment in the environment Between PLACE and SITE

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity

 LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner on painting)

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practices.

RAVENINGHAM THEMES : Working Notes

New Futures for Architecture Leon van Schaik

Spatial intelligence builds our mental space. Sensing Spaces

Architecture Reimagined Oak-Framed Buildings. Rupert Newman

Heidegger for Architects

Adam Sharr 

MAKING : ANTHROPOLOGY, ARCHAEOLOGY ART AND ARCHITECTURE

Tim Ingold

Touching objects, feeling materials 

The Cathedral and the Laboratory

A Hut of One's Own

Anne Cline

Solar Pavilion

Alison and Peter Smithson Architecture is not made with the brain 

The Parallel of Art and Life

Aesthetics about Perception Poetics about Production

HERZOG & DEMEURON NATURAL HISTORY

My studio is a piece of architecture that is silent. Speculative Architecture

On The Aesthetics of Herzog & De Meuron 

The Thinking Hand

Existential and Embodied Wisdom in Architecture

Juhani Pallasmaa

The Architecture of Natural Light. Henry Plummer

Peter Zumthor

Hortus Conclusus Serpentine Gallery Pavilion

The Potentials of Spaces

The Theory and Practice of Scenography and Performance. Alison Oddey, Christine White

See Yourself Sensing Redefining Human Perception. Madeline Schwartzman

Collage and Architecture. Jennifer A. E. Shields

COLLAGE

Assembling Contemporary Art. Sally O'Reilly 

Construction/Abstraction Body/Identity Environments/Geographies

Indexical

Absences

Actuality Immaterial Architectural Sensing Surfaces,

Textures

Dimensions, Sprays, Trace

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.

Repetition, Empirical Experiences

Forms, Pavilion, Hut, Shelter, simple enclosure

Minimalist, tuning objects, sequences to construct/de-construct environments 

Reflexive Surfaces into architectural presence

Art as indeterminate, able to arrest perceptions into different states/becomings 

Site, undoing of place. 

Gauze/Filtered Light/Phenomena

Gesture of the work, its situation,

Meshwork. The drawing grid, making of a proposition into space.

Cyan, Sky Blue, dappled light, membrane, responding to the weather/locality

AA Pavilion Project,

Its about learning through making, being involved in the process, the installation and its reception, dislocating contextual barriers.

Ephemeral Architectures, AA Document/Project, Prizeman

Immaterial Architecture : Waverley Pavilion Building The Drawing

The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.

Immaterial Architecture The Illegal Architect Jonathan Hill

Oak 

Tree 

Oil

Paper

Plaster

Rust 

Sgratfito 

Silence 

Sound 

Steel 

Television 

Weather

Frosted Light

Index of immaterial architectures

TRANSPARENCY : LITERAL AND PHENOMENAL. Colin Rowe, Robert Slutzky

Interactions of the Abstract Body. Josiah McElheny

Object Lesson

Interactive Abstract Body (Square) The Spatial Body (After Fontana)

Tracing Eisenman

Stan Allen

Indexical Characters FABRIC=MASS+ FORM

Alan Chandler

The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.

ANTI OBJECT Kengo Kuma

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. 

What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important. ReThinking Matereriality

The engagement of mind with the material world. Elizabeth DeMarrais, Chris Gosden. Colin Renfrew

The Affordances of Things

Towards a Theory of Material Engagement Aesthetics, Intelligence and Emotions Relationality of Mind and Matter

Material Agency

Towards a Non-Anthropocentric Approach. Carl Knappett, Lambros Malafouris

At The Potter's Wheel: An Argument for Material Agency

We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts 

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things

Material Engagement and the Extended Mind. Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality. Michael Wheeler

Communities of Things and Objects : A Spatial Perspective Carl Knappett

People make space, and space contains people

Imagining the Cognitive Life of Things. Edwin Hutchins

Things and Their Embodied Environments

Architectures for Perception

Structuring Perception through Material Artifacts. Charles Goodwin

 

A Sensation of Looking/Manifesting Seeing

Outpost 310323

A Sensation of Looking/Manifesting Seeing

Matters of Concern/Fact.

Drawing/Contingency/Sensing/Seeing

Drawing away from descriptive depictions that illustrate preconceptions/aesthetics.

Julian Stair.

Quietus. 2012.

The Vessel.

Death and The Human Body.

There is an alchemy to making ceramics. We take an inert material, fashion it, dry it and expose it to heat and flame. The practice of cremation, of exposing the body to fire, going through an alchemical change, echoes and parallels the process of firing.

Julian Stair.

The materials he works, lead and clay are dense, both physically and emotionally. But Stair's use of these materials is not representational. These objects do not depict or illustrate, instead they enact and embody.

Stair's achievement in this cyclical exhibition is to have expressed both the universality and the specificity of death, each as an aspect of the other.

The great hand-thrown jars that stand at the heart of the exhibition exemplify this doubleness. Though completely abstract, they exist at the scale of the body. They invite a tactile response, visitors might stroke the ridges circumscribing the jars or tap them, or even give them a gentle hug.

Glenn Adamson.

Life drawing on the psychology of  nakedness and the human body in contemporary art.

Life-Class/Anatomy/Pathology.

The practical and theoretical problems of the confrontation with the human form.

Georg Eisler.

Herbert Boeckl.

His nudes speak a physical language, interpreting life and death in terms of human bodies, of functioning muscle and bone and the tactile aspects of flesh, and the knowledge of what lies beneath/behind it. 

Alfred Hrdlicka. 

A Group. 1973.

Proximity does not read as intimacy, the entangled naked bodies convey a sense of insecurity.

The Posed/Nakedness/Social Scrutiny.

The Life-Class.

Isabel Bradshaw/Michael Grimshaw

Drawings/Sculpted lines that bring sensations onto the surface of the paper.

Lines of Movement/Vectors

Lines of Static Forms/Boundaries

Mark-making, rendering the spatialities of the human form.

Form-Movement

Mass-Volume

Skin-Surface

Line is only the visual interpretation of an extremity of a volume. Mark-making on a drawing becomes a conduit for a sensation of seeing others.

The concept of anthropomorphism is central to the identity of pottery. We use bodily terms such as a neck, shoulder, hip and foot to describe the constituent parts of a pot. And the very nature of the vessel as a container, a holder of things, is analogous to the idea of the body as physical container for the soul or spirit.

Julian Stair.

Naked~Nude : On The Corporeality Of The Drawn~Drawing Body

Outpost 230323

Drawing, depicting something found through the process of making visible.

The Luminescence Of Space.

An Archaeological Inquiry Into Drawing.

Correspondences/Reclaiming the drawings.

The Affect and Memory of Drawing.

To interrogate ways of seeing/looking, John Berger.

The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.

Colin Renfrew.

The Myth of Butades.

Figure/Ground Relationships.

Theoretical Thought : Diagram and map.

Neo-Sumerian temple plan on clay tablet from c. 2100BC.

The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.

Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.

Drawing/Substance/Memory/Display.

The artist's creative act, is of a self amongst others.

Material/Thinking Matter.

Drawings mediated by the distance of memory.

Art Works, subtle embodiments, visual markers both spatial and sociological.

Life/Drawing/Figuring It Out.

The Luminescent Dematerialization Of The Subject.

Expressions Of Both Figuration And Abstraction.

Phenomenological approaches to Drawing/Looking/Others.

Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.

Walking/Movement is quiet literally what made us human.

The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.

Richard Long/Colin Renfrew.

Charles Mausson.

Walking Man, No. 3. 1990.

Oil, crayon, 203.0 x 137.0 cm.

Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.

Robert Combas. 1993.

The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.

Sophie Dupont. 1995.

The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.

The legibility of the photographic image was denied by the process of blurring the image.

Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.

William Jeffett. 1995.

Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.

Figural Expressions.

Figural dissolution of a nude descending a staircase, Marcel Duchamp.

Stop-motion photography of the human body in motion, Etienne Marey.

Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.

Notations.

Contemporary Drawing as Idea and Process.

Fred Sandback.

The Drawing Room.

The Secret Theory of Drawing.

Jim Dine.

Figure Drawings, 1975-79.

The Drawings of Richard Diebenkorn.

John Eldenfield.

Manuel Neri.

Drawings/Relief Sculptures.

Naked To Nude.

Life Drawing in the Twentieth Century.

Georg Eisler.

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

Drawing The Body/Figure Event : The Luminescence Of Space.

Outpost 230323

Drawing, depicting something found through the process of making visible.

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

The Luminescence Of Space.

An Archaeological Inquiry Into Drawing.

Correspondences/Reclaiming the drawings.

The Affect and Memory of Drawing.

To interrogate ways of seeing/looking, John Berger. 

The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.

Colin Renfrew.

The Myth of Butades.

Figure/Ground Relationships.

Theoretical Thought : Diagram and map.

Neo-Sumerian temple plan on clay tablet from c. 2100BC.

The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.

Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.

Drawing/Substance/Memory/Display.

The artist's creative act, is of a self amongst others.

Material/Thinking Matter.

Drawings mediated by the distance of memory.

Art Works, subtle embodiments, visual markers both spatial and sociological.

Life/Drawing/Figuring It Out.

The Luminescent Dematerialization Of The Subject.

Expressions Of Both Figuration And Abstraction.

Phenomenological approaches to Drawing/Looking/Others.

Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.

Walking/Movement is quiet literally what made us human.

The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.

Richard Long/Colin Renfrew.

Charles Mausson.

Walking Man, No. 3. 1990.

Oil, crayon, 203.0 x 137.0 cm.

Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.

Robert Combas. 1993.

 

The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet. 

Sophie Dupont. 1995.

The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.

The legibility of the photographic image was denied by the process of blurring the image.

Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.

William Jeffett. 1995. 

Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.

Figural Expressions.

Figural dissolution of a nude descending a staircase, Marcel Duchamp.

Stop-motion photography of the human body in motion, Etienne Marey.

Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.

Notations.

Contemporary Drawing as Idea and Process.

Fred Sandback.

The Drawing Room.

The Secret Theory of Drawing.

Jim Dine.

Figure Drawings, 1975-79.

The Drawings of Richard Diebenkorn.

John Eldenfield.

Manuel Neri.

Drawings/Relief Sculptures.

Naked To Nude.

Life Drawing in the Twentieth Century.

Georg Eisler.

The Process Of Drawing Is Left Visible.

 Outpost 270323

The Process Of Drawing Is Left Visible.

On Drawing, John Berger.

Raveningham.

Garden/Ground/Circulation Diagrams.

Notes appropriated from 

The Scripted Drawing.

Social conditioning underpinning education.

Cultivation Field.

Spatial Registers/Spatialities/Ideologies between consciousness and social existence.

Collaged Activities/Inquiry

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Frames of Consciousness.

Stencils/Templates/Windows/Intermediaries.

Double Occupancy/Discourses and Events.

The Confessional Metaphor.

Jean-Jacques Rousseau.

Corpus.

The Individual/Birth to Presence.

Jean-Luc Nancy.

Circulation Diagram.

Architectural Programming.

The Shower Room.

The Changing Room.

The Life Drawing Room.

The Darkroom.

Mobile Architecture/Event Architecture.

Further Figuring It Out.

Maussion's very choice of the nude recalls the most classic of strategies within the tradition of easel painting, but as we have seen it is one mediated by the mechanical effects of photography and the distance of memory.

William Jeffrett, 1995.

Charles Maussion. SCVA/UEA Norwich.

Life Drawing/The Contested Sociological Subject/Corporeal Gaze.

Drawing as an extended method of seeing and of recording experience.

Drawing From Life as Ideas and Process.

We have schooled ourselves to see, by acquiring the capacity to depict ourselves.

The human body, drawings/depictions seen through concentrations of our personal/private selves.

Alberto Giacometti. 1901-1966.

Standing Nude, 1955.

Sainsbury Centre, UEA Norwich.

The body as the instrument of our emotions and our sensuality. 

In all its starkness this figure is a most sensitive and complicated mechanism. The naked human is seen as a symbol of existence achieved through observation of painful acuteness.

Herbert Boeckl. 1894-1966.

All Boeckl's life-drawings are distinguished by a strong physical presence. He is truly concerned with interpreting life in terms of human bodies, of the beauty of functioning muscle and bone and with the tactile aspects of flesh, as well as the knowledge of what lies beneath it. His nudes speak a physical language. He uses charcoal as a technical means to best achieve lucidity.

Boeckl is not concerned with 'beauty of line' as his predecessors Klimt and Schiele were, he always sees the body in the context of space and draws 'from within'. He builds up his figures from a structural core, the surface of his forms take on a strongly moulded, modelled aspect through a great economy of means.

Naked to Nude, Life Drawing in the Twentieth Century.

Georg Eisler. 1977. 

Rendering sensuality in everyday occurrences.

Drawings as concepts, forms of thought/seeing.

Ambient light and shadows over architectural surfaces.

Blurring the conventional distinction between the figure and the ground.

Life Drawing and the psychology of nakedness.

The practical and theoretical problems of confronting/drawing the human form.

Drawings from life contain a sense of physical presence, of a functioning logic.

Atmosphere and Surrounding Objects : Loose Assemblages/Living Emotions/Theoretical Gaze

Paintings being living emotions. Mark Rothko

The atmosphere of a work of art, what surrounds it, that 'place' in which it exists - all this is thought of as a lesser thing, charming but not essential. Professionals insist on essentials ... not understanding that everything we use to make art is precisely what kills it. This is what every painter I know understands. And this is what almost no composer I know understands.

The Music of Morton Feldman, reprinted from his essay  "The anxiety in art"

OUTPOST STUDIO  July 2021

Loose Assemblages : The Movement of Ideas and Feelings

Touch and materials as a normative support/exploration for the theoretical gaze

Bento's Sketchbook : John Berger

Existence appertains to the nature of substance.

A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.

Ethics, Part 1, Proposition VII, Proof

Conscious minds arise from establishing a relationship between organism and an object-to-be-known. Damasio

Architectural Body

Organism-Person-Environment

Drawing is a  form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

The Human Body through drawing and philosophy

Berger/Spinoza 141

Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.

The defining point of agency is namely its potential to transform the given.

Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square

Improvisations/choreographed with the music/ambient noise are exploratory encounters  between flesh and sound

A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise

Vibrant yet curiously passive form of  urbanism

Affectivity as a mimesis of lively transfers between things, humans and non-humans

Human subjectivity : Mimetic Encounters/Explorations

Art works by gathering up forms and materials for affective experimentations in subjectivity

Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another. 

Intentionality/Sympathy/Sentiment/Difference

Inducing a particular set of ethical/political/social responses in actor/social audience 

Mimesis : Paradox or Encounter. Jane Bennett

Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh

Francesca Woodman

Mimesis and suggestion in the social,enacted through layers of mediation surrounding humans, objects and non-humans.

Camouflage. Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming 

Sensations in Space and Time (the experience/entanglement of phenomena and idea)

Agency/Foraging/Making/Gathering

Subjectivity is relational (always in process)

A Species of Making Spaces

Tentativeness, attentive to situatedness 

A diffractive methodology enables a critical rethinking of science and the social in their relationality, moving beyond separate entities, separate sets of concern. 

Karen Barad 

Organism 

Person

Environment

Arakawa and Madeline Gins

For Merleau-Ponty, Experience can only be understood between the mind and the body or across them in their lived conjunction.

The mind is always embodied, always based on corporeal and sensory relations.

Elizabeth Grosz.

Richard Serra : Verb List Compilation

Actions to Relate to Oneself, 1967-1967

Drawing in its frameworks and dimensions/presence and absence/its here and elsewhere

Exploring the fragility of a painting in the landscape

Canvas as sheltering construction, Raveningham Sculpture Trail

Diagram-Map-Chart, is a symbolic depiction emphasizing (mapping) relationships

Diagrams For The Imagination : Arakawa

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Litany Of Echoes : James Blackshaw

New Music, for old instruments : Paul Metzger, Jozef Van Wissem

Brilliant Trees : David Sylvian

Body As Cultural Product

Both psychic and social dimensions must find their place in reconceptualizing the body, not in opposition to each other, but as necessarily interactive.

Volatile Bodies/Chaos-Territory-Art : Elizabeth Grosz

Spatial Asperity/Mesh, Membrane and Gauze, Möbius Strip, Pattening, 

Actuality : Robert Mangold

Paintings around the particles/flows of things/boundaries/intervals of presence and absence

Induction/Capacitance/Encapsulated Layers

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading/Matter/Rooms, 

The Lake of The Mind

Stochastic Thinking, Steven Holl

Solitude/Libraries : Cell/Court/Domain

Capacitance, relationships between intensities and movements

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Flesh, elementary pre-communicative, subject and object develop.

Making as Growth : Tim Ingold

Social Architectures/Anthropologies/Imaginary Projects/Interfaces/Screens

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Paintings/Enactments : Canvas as a spatial verb

Espace-Milieu, painting as environment/entanglements and situations

Ceramic/Process and its theoretical objects 

As a series of practices, making reality by bringing things together or separating them into their singularities, or making machines/desiring machines

Desire can be seen as an Actualization

Gathering Notations : Bernard Tuchumi  

Both presence and absence are coupled in this framework

Deleuze/Guattari

Glass/GLAS : Resistivity/Inclusions, A Field in England.

Translucent aesthetics, beyond the opacities of the sensible the rational.

An image that adequately expresses both the efficacy and the temporariness of the phenomena ( joining a diffused/invisible flow of energy, a breadth that wends its way ceaselessly through the world). Animating it as it goes.

Vital Nourishment, Departing from happiness, Francois Jullian.

What is a body capable of -  

Spinoza

Building/Making, into the theoretical performative object (that does theory)

Albers/Clarke : Interactions, Counterpoints, Intervals between colour/forms, 

Membrane, Discursive, Diffractive, Sensory, Layered and Filtered Light,

Body, Movement, Mind, Assemblages, Exploratory, Speculative, Choreographic,

Deleuze/Guattari, understand the body more in terms of what AFFECTS it is capable of, instead of the consequences of having a body.

Peter Zumthor : Thermal Baths

Human Agency/Temporal transitions between matter and movement.

Immaterial/Concrete/Water : Bodies in contact/the corporeal social human body

Manifolds/Theory of Temporality/3 Synthesis of Time

Memory     Past Preserved                    Condition

Present       Habit Instants                     Agent

New           Future, actual/virtual          Creation of The New

 

Multiplicity, purality of contemplating souls.

Asymmetries between particular past and general future.

Temporality involves multiple interacting processes.

 

Architecture becomes Spatial Agency

We all make space : Jeremy Till

Paintings, space, volume, surface, passages, actualizations, claddings/camouflage 

One conceives and reads a building in terms of sequences, both phenomenological and filmic, reading a space by its depth of field, its thickness.

Turbulence House, New Mexico, Steven Holl.

Aesthetics/Asperities : Resultants that incorporate the friction (asperity) of their trajectories through a medium. Tilt-up concrete construction, Chapel of St, Ignatius, Seattle. Steven Holl.

Navigations and Vectors/conduits/intervals and traces between discursive practices.

Wrapped Silences : Assembled Sectional Elements/Thresholds

Surfaces on Mourning/Samsara, a beauty fed on emptiness

Sociological Organisation/Groups : Theoretical Propositions/Transactive Memory

Theoretical Propositions (Groups) around The Abbey
Collage and Life Drawings

Transactive  Memory Development in Virtual Teams

There is no theoretical requirement that groups exist only in face-to-face environments. In fact, McGrath's definition of a group - an entity that interacts, is interdependent, mutually aware, with a past and an anticipated future (McGrath, J.E. Groups: Interact and Performance.1984 :6) - makes no mention of the form that interaction must take.

Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale,

DSC_0010 Reading Room : Collage/Waverley Abbey
DSC_3153 Life Drawing
DSC_3157 Life Drawing
DSC_3148 Life Drawing

The human drawn amongst residues, equations filled with unknowns.

Human form (detail) rendered from performance, outline and sedimentation. Drawing on paper with wax and liquid rust residues from obsolete machine parts. Material sourced from the artist's own biographical accumulations.