Making Iterations/Procedures Crafted with Care ~The Interweaving of Everyday Experience in Texture~Pattern~Weave

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 

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.

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.

Visual Substance : Inter-Subjective Encounters

 Outpost 090222

Architectural Body/Procedural Architecture

Organism/Person/Environment

Earth, House, Hold, Dwelling Places.

Unlike the sense of sight or hearing, only the sense of touch can discern space and time at once.

The skin as the harbourer of a subjects sense of touch.

Skin/Subjectivity becomes as flesh a connective tissue which both unites and divides.

The skin can judge time less well than the ear, and space less well than the eye, but it is skin alone that combines the spatial and temporal dimensions.

Maternal Skin/Subject Formation, Anzieu.

A Field in England : On the nature of Photography.

Between Art and Information.

Brought to Light : Photography and the Invisible.

The Visible/Invisibility between the potential of  things.

The Photograph and The Lacanian Mirror.

In which identity is constantly shored up and broken down, but also as a persistent space invested with the paradoxical qualities of intimacy and alienation, of proximity and utter detachment all through which an offer of an encounter is held out in invitation.

Inter-Subjective Encounters, a space in which the subjectivities of the artist and the spectator might meet and mingle.

The skin is the surface through which self and other are mediated.

The mutuality of touch itself is echoed by the skins structure, it both touches and is touched and this duality is reflected in the way the skins surface is exposed to the outside world, whilst also protecting and containing the unseen interiority of the body.

Harriet Katherine Riches, 2004.

Light and Spaces of Intersubjectivity.

Tactile Light.

The photograph holds out the promise of an encounter through its carnal medium.

For Riches, the self-representational photograph becomes a kind of veil or mask, a displaced surface whose skin-like relationship to the subject is always suspended, and perpetually deferred. It frames a space of contact and a fantasy of union with the original subject, the photograph's skin-like quality also enables it to be imagined as an inter-subjective space of exchange.

Light creates the spatiality/transitions that passes beyond subject/object relationships.

Skin/Surface/Subjectivity : Movements in thinking through Spatial Agency

Skin becomes a site of symbolic acts of aggression/gesture.

Surfaces of suggested pain/experience through which subjectivity is created.

Conduits of colour specificities and counterpoints

Relationscapes : Movements, created through colour temperature and spatial contact.

The phenomena of things being brought into perception/focus.

Through a body every colour creates movement and has its own/creates its own perspective/its mapping/layering/extension of spatial temporal material.

Analogies/Difference : Spaces created through mimesis,wavelengths intermingling with the spatial.

Glass/Lead/Filtered Light.

Glass Slide/Subjectivities brought into the light

Colour Subjectivities, the appearance/experience of mattering material.