Transactive Spatial Gestures : Anticipation and Action/Affective Energies/Luminosity

12/10/2022

Reading with Deleuze and Spinoza~Radical Intuitions : Interacting with clay

Speculative and Exploratory Field Works.

Inscriptions, handwriting, cognitive connections across visual art materialisms. 

Gathered readings, walking across holloways and embodied dispositions, surfaces/inseparable cartographies of embodied experiences.

Undisciplined knowledge enables and sustains actions, gestures of a post disciplinary field.

Inseparable categories (containers and bodies) and their contents.

The Aesthetic,

The Economic,

The Political,

The Social,

Textures of Light : Vision and Touch in Irigarey, Levinas and Merleau-Ponty : Cathryn Vasseleu.

Bento's Sketchbooks : John Berger. 2015

Spinoza, practical philosophy : Gilles Deleuze. 2001

A concise and illuminating book about the Dutch philosopher Baruch Spinoza, one of the early thinkers of the Enlightenment and modern biblical criticism.

Spinoza's theoretical philosophy is one of the most radical attempts to construct a pure ontology with a single infinite substance. This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical and ontological propositions. His ethics is an ethology, rather than a moral science.

Attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher and this reading of Spinoza by Gilles Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, "Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence."

Gilles Deleuze, known for his inquiries into desire, language, politics and power, finds a kinship between Spinoza and Nietzsche. He writes, "Spinoza did not believe in hope or even in courage; he believed only in joy and in vision . . . he more than any other gave me the feeling of a gust of air from behind each time I read him, of a witch's broom that he makes one mount."

Gilles Deleuze was a professor of philosophy at the University of Paris at Vincennes.

Robert Hurley is the translator of Michel Foucault's History of Sexuality.

Gilles Deleuze's Luminous Philosophy : Hanjo Berressem. 2021

'The plane of immanence is entirely made up of Light', Deleuze writes in Cinema 1: The Movement-Image. Engaging the whole body of Deleuze's work, including less rehearsed texts such as The Actual and the Virtual, Lucretius and the Simulacrum and his lectures on Spinoza, Hanjo Berressem traces the 'line of light' that runs through Deleuze's thought. The focus on the philosophical luminism that suffuses Deleuze's work delivers a novel reading of Deleuzian philosophy from the perspective of the complementarity of the photon. Berressem reveals a wealth of surprising and brilliant insights for anyone with an interest in Deleuze and in the implications of Deleuze's philosophical photonics for historiography, literary studies, painting and film.

https://blackwells.co.uk/bookshop/product/9781474450720

Making Apparatuses/Fictioning Space : Reading with Deleuze and Spinoza~Radical Intuitions : Interacting through abject(ions) between clay+ceramic.

Speculative and Exploratory Field Works.

Practical Philosophy ~in~the~making~

Asking of those that create things through material engagements, all the poetics~makings are crafted from modalities of becoming affective abject(ions)~aesthetics~

Inscriptions, handwriting, cognitive connections across visual art materialisms.

Gathered readings, walking across holloways and embodied dispositions, surfaces/inseparable cartographies of embodied experiences.

Undisciplined knowledge enables and sustains actions, gestures of a post disciplinary field.

Inseparable categories (containers and bodies) and their contents.

The Aesthetic,

The Economic,

The Political,

The Social,

MAKING as a process of translation in the process of spatial iterations : An expanded field of exploratory inquiry.

Making Ecological Politics

A world teeming with impulsive movements, deviations and many other lively (capacious) materialities.

Influences that pervade, enable, and disrupt us.

Vibrant Matter, Jane Bennett

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

Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve

Making becomes a process of iteration, and a maker works with this iteration prolifically Geographies of Making

ReThinking Materials and Skills for Volatile Futures

The skill to sustain the life of something through repair and reappropriation

Collecting is an example or a pre-emptive activity that people who are skilled with their hands commonly share

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making Seeking a symbiotic relationship between idea and object

Materials are substances in becoming Karen Barad

Towards an Ecology of Materials Tim Ingold 2012

From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis.

Materials-Centered : Perspective Making, almost defies precise definition.

The composition and/or manipulation of materials that bring into being new or revised objects. Tim Ingold.

Cultures of thrift and scavenging, maintenance and repair.

Making encompasses the ingenuity of fluid, locally situated and adapted technologies.

Social sites of space/situatedness/matter : Explorations in developing spatial intelligence

Discursive and practical apparatuses, both drawing on the other in the act of agency.

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

Spinoza : Practical Philosophy by Gilles Deleuze

Bento's Sketchbook : John Berger

Beams and Netting: Negotiations in the chamber, Hyde Abbey Gatehouse, Winchester.

Clay, hessian, drawings and transparencies, drawing frame, antique glass, lead and nylon lines.

‘Leylines’ has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has produced a social narrative of its own invention.

This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber.

Artist’s Book: white and coloured pages

A hand-bound book comprising of five signatures each with four folios. This book contains a collection of postcards made from contact prints and photograms from Tidbury Ring using the cyanotype process.