Outpost 030125
A wayfaring body does not move through a finished space. It participates in making the space through attention, movement and encounter. Architecture becomes less a fixed container than a living field of relations. Lines, bodies, materials and places cross one another, opening zones of proximity and exchange. To wayfare is therefore to remain unfinished—to move attentively through spaces that are continually being made and unmade.
From Archive to Anarchive.
These correspondents do not form a theoretical framework.
They form a wayfaring apparatus.
Each opens another route through the material.
Ingold moves alongside.
Bachelard moves inward.
Pallasmaa moves through touch.
Barad moves through entanglement.
Arakawa and Gins keep the body tentative.
Kovar opens the boundary.
Manning follows becoming.
The piddock makes absence materially present.
Fire transforms persistence.
And the archive begins to move with them.
This is where archive becomes anarchive.
The old text is not corrected by the new work.
The new work does not simply illustrate the old text.
They enter correspondence.
A proposition written years ago may suddenly become perceptible through a piece of clay.
A ceramic body may return a reading that had previously remained abstract.
An image may activate a memory of a place.
A place may reappear as a spatial condition.
A fragment of writing may become a material gesture.
Old text ~ new ceramic ~ other body ~ future proposition.
The anarchive is therefore not what remains after the archive has been emptied.
It is what happens when the archive starts moving again.
Wayfaring Bodies in Attentive Movements.
This is perhaps where the particular spatial body of the practice becomes visible.
It is not a journey towards a predetermined destination.
It is a movement through relations.
Archive body reading clay touch space fire ceramic atmosphere other body wayfaring~~correspondence.
The spatial emerges through this movement.
It is not added to the ceramic afterwards.
It is aroused through the material encounter.
The ceramic body becomes a spatial body because it continues to enter relations—with light, air, architecture, place, memory, bodies and the situations into which it subsequently travels.
What is gathered is never simply contained.
It reverberates.
And perhaps this is the proposition that holds the whole field together:
Correspondence is not what happens between finished bodies.
It is how bodies become.
The practice dwells with clay.
It becomes with other bodies.
It moves through fire.
And the fired body wayfares onward—not carrying a fixed meaning, but carrying the possibility of further correspondence.
Living Architectures/Wayfaring.
Environments formed/experienced through Movement and Attention.
Lines.
Tim Ingold.
Numinous Odyssey : Raveningham
Spectral Affinities : Architectural Constellation
Processual Bodies.
https://www.flickr.com/photos/russellmoreton/
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Art's Use of Architecture: Place, Site and Setting.
Artists in 'Psycho Buildings' explore architecture's psyche, through the production of places, sites and settings, sites and settings, which engender spatial experiences that connect the viewer psychically, as well as perceptually and conceptually, to broader social issues and cultural phenomena.
Art and architecture are frequently differentiated in terms of their relationship to 'function' or 'use'. Unlike architecture, art may not be useful in pragmatic terms, for example in responding directly to social needs, providing shelter or somewhere in which to perform open-heart surgery, but we could say that art provides a place for other kinds of function – self-reflection, critical thinking and social change. If we consider this expanded version of the term function in relation to architecture, we realise that architecture is seldom given the opportunity to consider the construction of critical concepts and spatial relations as its most important purpose.
Jane Rendell.
Processes/Processual Thinking that constitute entities.
Moving Attentively In The Field of Material Structure.
The Itinerant Library of Excessive Tendencies.
Heterogeneous matter driven by disparate parts and elements of assembly.
Bricoleur Performing Practices.
Discursive Inquiry/Reading/Making.
Abjection flows between bodies, it never solely concerns one body.
For Kovar, when abjection is one of those processes, a very particular assemblage manifests itself. Where boundaries are disrupted, connections made and zones of proximity that are otherwise absent, are reached. Abject(ion) causes an inherent schism on the physical and psychological levels.
It opens bodies, to one another.
It opens up bodies for 'exchange'.
Such that they are in a perpetual process of being made and unmade, unfinished bodies.
It is precisely because abject(ion) is not only psychological but also physiological that it straddles both genders and is not solely reducible to the feminine. Abject(ion) is both feminine and masculine.
This one feels very important.
It begins with Living Architectures / Wayfaring, environments formed through movement and attention, lines, Ingold, Raveningham, processual bodies, then moves through Jane Rendell and Kovar into the opening of bodies to one another.
That is already very close to your current proposition that spatial practice is not about spatial characteristics but about bodies continuing to enter relations.
The original Ceramic Bodies constellation was:
matter → movement → energy → iteration → interiority
These five introduce another set of movements:
shelter → permeability → gathering → process → wayfaring
And the two sets begin to touch.
The archive is not proving the present practice.
It is becoming capable of corresponding with it.
And Slow Philosophy may be one of the clearest examples so far: the 2021 material already contains semi-permeability, unfinished becoming, gathering, clay, surface, studio, architecture and material reciprocity.
That is much more interesting than simply saying, “this old post is relevant to my current work.”
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