Correspondences and Mediums /Drawing/Speculative Learning Environments

Outpost 300823

Mediums To Correspond With.

The Situatedness of Sinuous Form/Animacy Dancing.

Living/Learning with intensity/shelters and camps, Architectural Association Field Projects.

Garden Constellation.

Raveningham Transductive Mapping/Diagram.

Cyanotype Spatial Drawing.

Transducers convert the 'ductus' the kinetic quality of the gesture and its flow or movement from one register of bodily kineasthesia to another of material flow. 

Brockwood Teaching Academy. 2011.

Speculative Learning Environments.

Brockwood Park Grounds.

A walk in the landscape whilst moving-making with clay.

Developing a mindfulness that is immanent in the attentiveness to ones surroundings through the playfulness of material and others.

Brockwood Park Library.

Hidden Curriculum.

Assemblage in the library for the re-imagining of architectural thinking and spaces for learning.

Architecture without architects.

Throwing Sticks.

The energies of the work,come from the gathering of materials and the gesture that animates them. For Goldsworthy the strength of the work lies precisely in the energies emanating from materials in their movement, growth and decay, and in the fleeting moments when they come together as one. Throwing as Goldsworthy shows us is not so much the outward effect of an embodied agency as the propulsion of animate being as it pulls, spills out into the world, it is the propulsion of life itself. 

Ingold/Goldsworthy

Relationscapes/Erin Manning

Making.

The Propulsion Of Animate Being.

Tim Ingold.

The Clay-The Potter-The Wheel.

The potter's feeling flows in and out in a correspondence with the clay.

You do not need clay to 'interact' with the wheel, but you do need a wheel to 'correspond' with the clay. In pottery the mindful or attentive bodily movement of the practitioner, on the one hand and the flows and resistances of the material on the other, respond/correspond to one another in counterpoint of affective resonances, sentient awareness, and the  flows/currents of animate life.

The distinction between interaction and correspondence if that, interaction is the dance of agency between definable points and objects, whilst correspondence can be seen as the dance of animacy weaving between all things and their phenomenal flux in the world.

In the dance of animacy bodily kinaesthesia interweaves contrapuntally with the flux of materials within an encompassing morphogenetic field of forces.

The flow of air, the wind, the breath of life are all the very antithesis of embodied agency.

For Ingold the very idea of agency and agents is the corollary of a logic for a closed system of embodiment, a system of closing things up in themselves.  

Making/Intuition In Action.

Beyond mere human embodiment and objects and into a world full of correspondences/animacies that propel things and phenomena into the world. 

World Without Objects, Tim Ingold.

The choreographic diagram/proposition generates less the stability of a complex of form, than the foregrounding of a field of resonance that defines a certain quality of activity. It speaks/seeks to create a drawing/diagram that captures in a fleeting moment the very qualities of movements and their expressibility such that their force of form can be felt.

Erin Manning.

Drawing, seeing made visible, through the pencil as transducer, not a vector of projection or a bridge between the architects imagining mind and the image on the paper.

The mark on paper leads as much as it is led.

Tim Ingold advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.

Individuation's Dance, pushing your consciousness deep into every atom and cell.

Atom and Cell, Nine Horses, David Sylvian.

Correspondences.

The Material of Life.

Drawing into the animacy of things and feelings.

The drawing that tells is a correspondence of kinaesthetic awareness and the line of flight, it is a correspondence that is alternatively sewing the line into the mind and the mind into the line in a suturing action that grows tighter as the drawing proceeds.

The Stage of Drawing, A Walk for Walks Sake, Bryson.

Instead of dictating a thought, the thinking process turns into an act of waiting-listening-collaborating-dialogue in which one gradually learns the skill of co-operating with one's own work. This thinking, this imagining goes on as much in the hands and fingers as in the head, it is strung out in the lines of practice.

Pallasmaa/Ingold.

Thinking Through Drawing.

Barry Phipps.

Drawing is a gathering and a co-operating with one,s own work, a pulling together closer of the lines of inquiry. 

Drawing The Line.

Making/Transduction and Perdurance.

Tim Ingold suggests colour saturates consciousness, line leads it. Thus if the line traces a process of thought then colour is its temperament. Both line and colour are modalities of feeling, but where line is haptic, colour is atmospheric. 

All Buildings are Drawings.

Simon Unwin.

Only in the eyes of the architect is the trowel a bridge between the initial design and the final construction. For the builder it allows him to navigate the treacherous waters that flow beneath.

Tim Ingold.

When one is young and narrow minded, one wants the text and the drawing to concretise a preconceived idea, to give the idea an instant and precise shape.

Juhani Pallasmaa.

Propositions and Structures/Landing Sites/Event Markers : Experience in the making.

Outpost 190723

Ceramic Forms/Speculative Spaces.

The ambient wholeness of the world at large is impossible to take in.

Erin Manning/Arakawa and Gins.

Demarcations/Sensations in the Landscape of Perception.

The Apparent Blindness of Little Perceptions.

White Sticks and Subsidiaries.

The Meaning of the Tactile Experience.

Curriculum Making as the Enactment of Dwelling in Places.

The Environment without Objects.

Bringing Things To Life.

Creative Entanglements In A World Of Materials.

Tim Ingold.

Subsidiaries exist, as such by bearing down on the focus to which we are attending from them, and are integrated one to the other by the act of a person, and last only as long as a person, the knower, sustains this integration by indwelling (living in) them.

The proof of the existence of two kinds of awareness comes when we try to observe how we do all this. If our blind man shifts his attention from the tip of his cane to his hand, the meaning on the end of the cane disappears (or becomes something else). Deprived of the meaning of its actions, any description of the process is merely a description of the 'mechanics' and not perception at all.

Robert Irwin.

Relationscapes : Erin Manning.

For Arakawa and Gins.

Fielding Microperceptibility.

Suddenly we are no longer simply watching things moving, we are feeling movement moving. We are moving with our watching fielding the finding form of microperceptions. This finding form of microperceptibility that gives rise, to a quasi registering of an affective tonality rather than a particular emotion. 

We move-with the movement even as we are moved by it, 

The more ambiguous the surroundings, the greater number of Imaging Landing Sites. 

Imaging Landing Sites are virtual events in the making, they foreground the kinaesthetic flickering that propels the taking form of an event.

Landing Sites are event markers in and of the event fabric that is organism-person-environment.

Landing Sites corner the experience in the making.

Imaging Landing Sites give affective resonance to the relation between experience and feeling, they give force to the taking form of the experience.

Arakawa and Gins.

Hungate Glass Abstracts

Raveningham Site Drawing on Architectural Paper.

White Sticks/Visual Feeling/Drawing on Blindness/Feeling through Subsidiaries.

Feeling Drawing/Drawing with Trace and Inscription.

Breathing/Perceiving in the landscape through the phenomenal sensations of subsidiaries/white sticks integrating an awareness of both an indwelling (living in) and a visual demarcation of that movement of gathering sensations.   

Drawing into the phenomenal by using media/tools and sensations/experiences through the site of the situated body of the knower.

Personal Knowledge, Michael Polanyi.

The semantic aspect of this transformation is that the information the man gets by feeling with the cane is the meaning of the tactile experience.

Picture a blind man probing his way with a cane. While he is alert to the feelings in the hand holding the cane, the crucial distinction may be defined by saying that these feelings are not watched in themselves, but he watches something else by way of them, that is by keeping  aware of them.

He has a subsidiary awareness of the feelings in his hand, feelings which are merged into focal awareness at the end of the cane, constituting two kinds of awareness that are mutually exclusive-'from awareness' and 'focal awareness.' There is here a particularly interesting phenomenal transformation. The sensations of the cane on his hand (the surface of the cane as it touches the palm of his hand, etc.) are lost. Instead, he feels the end of the cane as it touches an object.

Being and Circumstance.

Notes Towards a Conditional Art.

Robert Irwin.

All perceptual knowing is knowing in action (change) and the equivalent of the phenomenal.

Change is the most basic condition (physic) of our universe. In its dynamic, change (alongside time and space) constitutes a given in all things, and is indeed what we are talking about when we are talking about when we speak of the phenomenal in perception. Most critically, change  is the key physical and physiological factor in our being able to perceive at all.

For Irwin, our perceptual process is a kind of 'perpetual motion' assimilator. No change, no perceptual consciousness. So while it is perfectly understandable that the overwhelming majority of our conceptual energies are spent on organizing this myriad of perceptual data into some 'familiar picture' we can work and live with, what is not so understandable is how much of those intellectual energies have been spent on trying to avoid this fact and its effects on our lives. 

LEARNING TO LEARN

On Learning

Brockwood Park School.

J. Krishnamurti.

MAKING : Anthropology, Archaeology, Art and Architecture.

Towards an Ecology of Materials.

Knowing is Movement/Knowing from the inside.

Tim Ingold.

Transvaluation Symposium 2015.

Performative Intraventions and Matters of Care.

Choreographing Values.

Thinking Things-in-Phenomena.

Diffractive Readings.

Karen Barad.

Oren Lieberman and Alberto Altes.

LiAi : Laboratory of Immediate Architectural Intervention.

The shift we propose in architectural practices and pedagogies- towards a privileging of processes and modalities of responsible making and learning- starts with an active stance that focuses on the transformational nature of interventions performed in real times and places. 

Through the performative, we shift our attention from what a thing looks like to what a thing does, and from objects and artefacts to 'movements' as well as to the effects of our practices and actions in life. This transformational 'mode' echoes the proposed category of worlding- with its accompanying history of 'indefinition' and 'indetermination' as well as its clear co-responsive engagement in the making of the world-and locates us in the realm of 'situatedness', or inside phenomena.

We are within, and active parts of, specific situations that we encounter in relationship to a series of concerns, things that really matter and have to do with the ongoing becoming of the world. Becoming inside these situations requires a certain fidelity, a certain willingness to stay and to endure; a caring in duration. In this duration it is both possible and necessary to develop situated knowledges, which emerge as 'ways-of-doing-and-making' from our engagement in worlding practices, practices which are also, for that reason, learning experiences.

The Living Thing : Hidden Curriculum (Intermezzo)

a thousand plateaus
Deleuze, Guattari

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

ASSEMBLAGE:

An assemblage is any number of "things" or pieces of "things" gathered into a single context. An assemblage can bring about any number of "effects"—aesthetic, machinic, productive, destructive, consumptive, informatic, etc. Deleuze and Guattari's discussion of the book provides a number of insights into this loosely defined term:

In a book, as in all things, there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or, on the contrary, of acceleration and rupture. All this, lines and measurable speeds constitutes an assemblage. A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity—but we don't know yet what the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of the substantive. On side of a machinic assemblage faces the strata, which doubtless make it a kind of organism, or signifying totality, or determination attributable to a subject; it also has a side facing a body without organs, which is continually dismantling the organism, causing asignifying particles or pure intensities or circulate, and attributing to itself subjects what it leaves with nothing more than a name as the trace of an intensity... Literature is an assemblage. It has nothing to do with ideology. There is no ideology and never has been. (3-4)
The book, as described above, is a jumbling together of discrete parts or pieces that is capable of producing any number effects, rather than a tightly organized and coherent whole producing one dominant reading.
The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

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



Speculative Learning Environment : Russell Moreton.

Re- Imagining Education, Brockwood Park School.

2011.

Speculative Images : Weathering between art and architecture #2

 Art as a 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

Speculative Images : Weathering between art and architecture #1

 

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

Fake Fish : Hidden Curriculum (Life-Sensation)

In Defence of Sensuality :  John Cowper Powys 1930.

               
                  Foreword.


The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word "Sensuality" which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word "sensuousness" down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.


                                                            J.C.P.

                 Dedicated to the memory of that great
                  and much-abused man

                Jean-Jacques Rousseau


Tim Ingold

MAKING 2013
Anthropology, Archaeology, Art and Architecture.

Practical Geometry

The Architect and The Carpenter

The Cathedral and The Laboratory

Templates and Geometry

The Return to Alchemy

Biosphere 2012. Russell Moreton

Biosphere 2012. Russell Moreton, a photo by Russell Moreton on Flickr.

Oxford Dictionary of Geography: spatiality

The effect that space has on actions, interactions, entities, concepts, and theories. Physical spatiality can also be metaphorical. It is used to show social power—thrones are higher than the seats of commoners, and ‘high tables’ for university teachers in most Oxbridge colleges physically elevate the teachers over the taught. People use proximity to show how intimate they want to be with others (See personal space), or orientation; we may face someone or turn away from them. Institutions and governments have used large architectural spaces to invoke awe, while restaurateurs may create ‘cosiness’ in small spaces.

Read more: www.answers.com/topic/spatiality-1#ixzz2FaLnBp9p

pictify.com/user/russellmoreton

Transparency : Literal and Phenomenal. #2

Transparency : Literal and Phenomenal. #2, a photo by Russell Moreton on Flickr.