Composite Bodies in Spaces : Drawing into the contemporary sociological imagination

Drawing into the contemporary sociological imagination

Intermezzo : Nomadic Photographic Assemblage

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

www.rhizomes.net/issue5/poke/glossary.html

The Uberficiation of the University
BY MARK CARRIGAN ON NOVEMBER 22, 2016• ( 0 )
sociologicalimagination.org/archives/18986

The Sharing Economy
Platform Capitalism
Uber.edu
The Reputation Economy
The Microentrepreneur of the Self
The Para-academic
The Artrepreneur
Affirmative Disruption

A fascinating short book by Gary Hall, available open access at the Coventry University repository:
curve.coventry.ac.uk/open/file/4b7671d5-371f-438b-83c7-92...

img20161120_17325939 Photographic Forms

Drawing figure/ground, documentation of work in progress.

Life "drawing" trace on paper with water and field chalk. Work submitted to Interfaith Group Show at the Link Gallery, Winchester 2010.

"This particular event invokes for me the notion of simple material relations and collaborative gestures that underpin human agency.
Art space/practice can promote these working intimations that enter into the realm of beliefs."        

Artist's Statement (archive)  07.12.2009.

Camera Obscura : Kilquhanity 2011. #4
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive"

Sequential Photograph : In the space around the "spatial turn" (539)
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

pictify.com/user/russellmoreton

PB144997a : Mapping.

Bento's Sketchbook : John Berger

The human  body  {corpus humanum) is composed  of many individuals (of different nature),  each  one of which  is highly composite.

The  individuals  of  which  the  human  body  is  composed  are some fluid, some soft and some hard.

The individuals composing  the human  body,  and  conse­quently  the human  body  itself is affected  in  many  ways by external bodies.

The human body needs for its preservation many other bodies from which it is, so to speak, continually regenerated.

When a fluid part of the human body is so determined by an external body that it impinges frequently on another part which is soft, it changes its surface and as it were imprints on it the traces of the external impelling body.

The  human  body  can  move  external  bodies  in  many  ways, and dispose them in many ways.

The human mind is apt for perceiving many things, and more so according as its body can be disposed in more ways.

{Ethics, Part II, Postulates I-VI, Proposition XIV)

Moments/Marks/Gestures differ because of their fecundity.

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The Rehabilitation Of The Imagination.

Correspondences between humankind and the world.

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

russellmoreton.com

In the heart of matter there grows an obscure vegetation; in the night of matter black flowers blossom. They already have their velvet and the formula of their scent.

Gaston Bachelard 

Imagination must infuse a second life into familiar images, it must create 'metaphors of metaphors'.

Reverie, reconciles the world and the subject, present and past, solitude and communication.

Gaston Bachelard.

Moments differ because of their fecundity.

The Intuition Of The Instant.

The imagination is not a state, it is the human existence itself.

William Blake. 

For Bachelard, Blake's poetics, presents a complex around the dialectics of rock and cloud. A dynamic imagination, he is a poet of absolute imagination for whom the unreal directs the real.

The Reverberation of Images.

In a word, the phenomenological approach is a description of the immediate relationship of phenomena with a particular consciousness. It allows Bachelard to renew his warnings against the temptation to study images as things. Images are lived, experienced, re-imagined in an act of consciousness which restores at once their timelessness and their newness.

Therefore a poetic image does not duplicate present reality.

From phenomenology Bachelard retains above all the admonition to return to 'phenomena themselves' this requires putting aside naïve belief in the reality of things and approaching phenomena through consciousness which is always intentional, always consciousness of something.

I realized then we were thinking the same thing. As we looked into each other's eyes, I felt, once again, the anxiety that had taken root in our hearts a long time ago. The light reflecting from the spray of the fountain lit R's face.

The boy was fiddling with a nondescript stone as though it were a toy with some elaborate hidden mechanism. His plain light blue gloves had obviously been knit by hand. They were connected to each other with a strand of yarn, to keep them from becoming separated. I remembered wearing the same kind, long ago, and, in this basement so full of anxiety, they seemed like the lone sign of innocence and peace.

The Memory Police.

Yoko Ogawa.

The Immaterial Body.

Proposals through transparency and trans-illumination.

Sensate Inscriptions. 

The Mechanized Image.

Thresholds and projections of creative perception.

Drawing into the visual field.

Paint, pigments, lines, bought to light. 

Gestures, lines from sensations and its seeing.

Life Drawing/Corporeal Social Bodies.

Drawing/Sensations into the memory and anxieties of physical things.

Drawing attention to the relations of the body.

Social and sexual politics.

The Modernist Offence.

Schiele And The Naked Female Body.

Gemma Blackshaw.

Feminist art historians have developed new ways of thinking about the relationship between sex and spectatorship.

As Abigail Soloman-Godeau has claimed in her exploration of photography and female subjectivity in the Second French Empire, the barriers between what is deeped licit and illicit, acceptably seductive or wantonly salacious, aesthetic or prurient, are never solid because contingent, never steadfast because they traffic with each other – are indeed dependant upon each other.

How might such an engagement with difference, with the binary system, shift not only our understanding but also our appreciation of Schiele's representation of the naked female body, of what continues to be described and displayed as 'the nude'? 

Egon Schiele.

The Radical Nude.

Drawing : From Blindness to Evidence/Figures, Doors and Passages.

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Taking Sides.

On The Phenomena of Vision : From Blindness to Evidence.

The debt at the origin of all drawing.

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

Derrida in 'Memoirs of the Blind' opens our eyes to this strange filiation, to this sort of conversation or duel between different generations of 'Taking Sides'. It not only teaches us much about blindness, vision, and drawing – about philosophy and art – but leaves us another way to understand the legacy of drawing and vision, the legacy of representation, the legacy of legacy itself.

I have grown to believe that a really intelligent man makes an indifferent painter, for painting requires a certain blindness – a partial refusal to be aware of all the options.

Mrs Talmann, spoken words from The Draughtsman's Contract

It thus will have seen to it to interrupt the legacy of a monocular vision in order to lead us by the hand towards this other legacy that is passed down in darkness. Opening eyes, then, yes – but only in order to cancel them, and to recall that the draughtsman's contract always concerns a pleasure and a condition that are not only out of sight, but out of this world.

Jacques Derrida.

Memoirs of the Blind.

The Self Portrait and Other Ruins.

Witnessing/Testimony/Legacies/Inheritances.

Like a dream, then, of whispering clouds, one can almost hear this obscure communication between past, present, and future, between Derrida and Greenaway, between them and us, between all those 'taking sides' on the other side of vision – in the night.

These are Derrida's themes in 'Memoirs of the Blind'

Blindness, dispropriation and the interruption of a lineage or filiation: the cancellation of what makes representation possible, the difference between the body proper and the supplement, the living body and the scarecrow, and the ruination and death of all foresight, all representation, and all legacies. 

A singular genealogy, a singular illustration of oneself among all these illustrious blind men who keep each other in memory, who greet and recognize one another in the night,

Derrida.

An exhibition ( of selected works) that reflects Derrida's inquiry on vision through the metaphor of blind men and visionaries.

Drawing/Filiations, the relations of one thing to another from which  it is derived or descended.

The Draughtsman's Contract.

Peter Greenaway.

A film about the differences between drawing, painting and sculpture, about allegory and ruin, about masks and funeral monuments, about strategies and debts, optics and blinds, about living statues and sounds represented in drawing. But above all it is about witnessing and testimony, about legacies and inheritances. The very themes of 'Memoirs of the Blind'.

Pascale-Anne Brault, Michael Naas.

Hortus Conclusus/A Return to Things : Substances, Materials, Making Drawings, Thinking Assemblages

 

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Hortus Conclusus, a serious place in the midst of mattering local ecologies.

Studio/Garden of forked paths

Substances, Materials, Making Drawings, Thinking Assemblages.

A drawing can be silly or crude, but locked inside it might be a little idea that given enough care and attention can rise above the rest of the orchestra and be heard individually.

Art as a clear and synthetic understanding of structured relationships that reveal innovative space-time through hidden sources of line and light, that suggest what art might become.

Brian Clarke.

Spatial Agent : Camera Tin/Molecular Sieve 115

The theoretical apparatus that practices physical movements and theory.

Grisaille/Procedural/Performative Grounds and Scripts/Double Occupations.

Speculative inquires, creative agencies that move through material thinking.

Diffraction as a tool for analysis that attunes us to the differences generated by our knowledge making practices have on the world.

A diffractive methodology is a knowledge making process that uses utilises and explores on going differences between phenomena. Diffractions open up ways for greater sensitivity towards how we are part of the worlds continuous becoming. 

Barad.

Paintings/Discursive Drawings around capacitance, interval,patterning and redundancy.

Diagrams for the imagination

Social noise cancelling artworks/bitumen, felt,foil,ceramic and lead.

Filtered Light/Projections and Transitions

Procedural Architecture/Assemblages and Environments

The Nature of Light and Colour in the Open Air (1954), Marcel Minnaert.

Minnaert offers a basis for understanding how myriad phenomena are concretely produced in the ordinary world. As opposed to Goethe's subjectively written Theory of Colours (1810), whose conjectures were based on personal examination unhampered by physics, Minnaert blends careful observations of luminous effects with analysis of how those effects are generated by physical modulations of light.

His work not only helps to throw attention onto light's beauty and mystery in the daily environment, but also treats those phenomena as palpable qualities that can be consciously perceived and described, and to some extent causally understood according to how light is modified when interacting with material things. 

The Architecture of Natural Light.

The Re-discovery of Ephemeral Light.

A Return to Things.

Light is not so much something that reveals, as it is itself the revelation.

James Turrell. 

On Phenomenology, a phenomenal way of thinking and seeing.

When one is filled with wonder, a method of examining phenomena through intensified seeing and sensing, as opposed to intellectual abstractions and constructions.

The broad import of phenomenology for architecture, and for understanding the role of light in places we care deeply about, has gained a poetic dimension in the writings of Gaston Bachelard. 

In his still astonishing book, The Poetics of Space (1958), and later in The Flame of a Candle (1961), Bachelard introduces the concept of a primal image, and locates the source of its imaginative power in simple archetypal places, ranging from nests and corners, to cellars and attics, and in metaphysical places such as the lamp that glows in a window, reveries of faint light, and spaces that participate in cosmic events.

The mesmerizing allure of images where light is fighting of darkness, argues Bachelard, originates in primordial memories that are only  accessible through poetic imagination, daydream and reverie, sublimations that lie below rational thought.

The Other Architecture/Constructing Metaphysical Space, Henry Plummer. 2009

 

The arts are the wilderness areas of the imagination surviving.

Claude Levi-Strauss.

The Practice of the Wild, Gary Snyder.

Cultures of wilderness live by the life and death lessons of subsistence economies.

The world is nature, and in the long run inevitably wild, because the wild, as the process and essence of nature, is also an ordering of impermanence.

Practice, meaning a deliberate sustained and conscious effort to be more finely tuned to ourselves and to the way the actual existing world is. 

A Place in Space, proposes that we must ground ourselves in the dark of our deepest selves, and that a good part of that grounding  takes place in communities, which exist whether we know it or not within the natural nations, shaped by mountain ranges, river courses, flatlands and wetlands.

The place-based stories the people tell, and the naming they've done, is their archaeology, architecture, and title to the land.

Tim Ingold - The Creativity of Undergoing - Crag Talk

Actions without Agency

Creativity of Life Itself