Drawing/Building Scripts : Collage/Photography

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre-spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 

Diffracted Bodies~Matter(s) in Movement : Speculative~Performative Space~Time Drawings

Evidencing Atmospheres/A Calling To Think.

Reading diffractively through reimagined patterns/atmospheres that penetrate the body-text-space-time compositions. 

Spatial blueprints/propositional and emergent diagrams on speculative readings from The Order of Time by Carlo Rovelli.

Apparatuses and Intermediaries.

Everyday Practices, Harleston. 2022

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Architectural Light : Drawing into the photographic process

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.

Thomas Ruff

Found Objects : Archaeological Photogram

Drawings : Speculative Constructions in Photography

Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts.  As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same.  Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

Cell

Court

Domain

Drawing into the photographic process

Poche/Niche : The shaped presence between two surfaces/volumes

Reading Rooms : Waverley Project

Library and Observatory/Abstract Fields of Inquiry : A Meditation on the Human Condition (Giacometti, artist-philosopher)

process,celestial sphere,observation,Karen Barad,zenith,analogue,trails,film,astronomy,night skies,dust particles,voids,Night Train,#russell moreton,#spatial practice,time cavity,The Seeing,naked eye universe,Martin Amis,

Books can step up to us- into us- in many ways.
Voices from Chernobyl by Svetlana Alexievich was for me that rare precipitate force which calls another book into being.

Mario Petrucci, Heavy Water, a poem for Chernobyl.

Norman Lockyer Observatory, Seaton.

Celestial Sphere : Stars and Dust Particles. 

https://www.flickr.com/photos/russellmoreton/25942954484/in/dateposted-public/


Astronomical archive

Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see.
Martin Amis, Night Train, 1997.

For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture.
Sylvere Lotringer, The Piracy of Art, 2008.

Entanglements of matter and meaning.

Karen Barad, Meeting The Universe Halfway, 2007.

Meeting the Universe Halfway is an ambitious book with far-reaching implications for numerous fields in the natural sciences, social sciences, and humanities. In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad's analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr's philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity. In an agential realist account, the world is made of entanglements of "social" and "natural" agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their "interrelationship." Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler's influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.

Reading Rooms : Waverley Project

Interior Design presented as a sociological spatial practice.

Design as an interactive structure, an interlocutory interior in the making of space and spatial relations.

The Scriptorium brings together a varied and discursive set of ideas and objects, texts and interior architectures. The performativity of the research is presented through specifically designed apparatuses and staged in a niche like space. The gaps or relations between things become more interesting than the designed elements.

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