The Architecture and Analogies found in Interior Spaces : Analogue Processes in Photography

 Analogue Processes in Photography 

"The imprint of light on emulsion"

"The alchemy of circumstance and chemistry"


Tacita Dean : Filmworks, Kodak Analogue, page 96/97


Analogue : On Zoe Leonard and Tacita Dean. Margaret Iversen 2012

It is only now, with the rise of digitalization and the near-obsolescence of traditional technology, that we are becoming fully aware of the distinctive character of analogue photography. This owl-of-Minerva-like appreciation of the analogue has prompted photographic art practices that mine the medium for its specificity. Indeed, one could argue that analogue photography has only recently become a medium in the fullest sense of the term, for it is only when artists refuse to switch over to digital photographic technologies that the question of what constitutes analogue photography as a medium is selfconsciously posed. While the benefits of digitalization—in terms of accessibility, dissemination, speed, and efficiency—are universally acknowledged, some people are also beginning to reflect on what is being lost in this great technological revolution

http://murrayguy.com/wp-content/uploads/2013/01/Iversen-Critical-Inquiry-36-4-Summer-20121.pdf

Translucency/Waverley Abbey, (Harold Brakspear FSA, courtesy of Damien Blower)
Pinhole Photography, Winchester Discovery Centre and Library.

In Solarized Light : The Unbound Body #2
Photogram from Victorian corset.

Concrete Surfaces : Anatomy #2
Dark Gothic Sensuality
Contact Photography
Science and Art

Alternative Processes, Tate Modern.
Photography and Architectural Space.
Cyanotype from Pinhole Camera

Clay Impression : Form and Segments
Surrounding Objects : Critical Proximity ~2
Research Material
Photographic Drawings

PETER ZUMTHOR                 ATMOSPHERES 

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

Geodesic Drawings : Observatory #2

Core, Periphery and Semiperiphery : Spatial Drawings #1

EMULSION : Photographic Landscape

A few feet below the ground a thick line of rock would mark us off from all that had gone before. Condensed into that six-inch sooty layer would be our cities, vehicles, roads, bridges, weapons. Also, all sorts of chemical compounds not found in the previous geological record.

Ian McEwan : The Children Act,  2014.


Reverberations from excavated land #1 (Excavated Shells)
Reverberations from excavated land #5 (Leper Graves)

The Leper Hospital : Anthropomorphic Geography/Landscape on Photographic Ground
Against SPACE : Place-Movement-Knowledge

"I wish to argue, in this chapter against the notion of space. Of all the terms we use to describe the world we inhabit, it is the most abstract, the most empty, the most detached from the realities of life and experience."

Tim Ingold

Environments
Land
Earth
Pastures
Country
Ground
Landscape
Indoors
Open
Sky

Air

Excavated Landscapes : Morn Hill #2





























2017

Lightness/Thresholds of loss and of inside spaces constituted by darkness.

Outpost 050224

Walking with Carlo Scarpa, Brion Cemetary.

Trust in the material and its 'spiritual incitement' that comes from the world.

The spatial dimension of this small building is a metaphor for the mental workings of meditation. The Pavilion is the place where we can enter the minds' empty space/stillness, where we can get away from all our passing concerns.

Thresholds, Carlo Scarpa/Ina Macaione.

Life Affirming Sentiments.

Light-Shade

Bitter-Sweet

Vital Nourishment.

Departing from Happiness.

Feeding the Body.

Feeding the Soul.

Francois Jullien

The Flame of a Candle.

Gaston Bachelard.

On the Loss of (Dark) Inside Space.

Constanze Kreiser.

Is inside space on the verge of disappearing? 

Is it being hindered by constantly improved light technology which is causing one of its fundamental qualities – darkness – to dissipate?

And for what reason?

Is it for the benefit or more outside space?

Or for the benefit of a new spatial quality?

Questioning the way increased use of artificial lighting affects interiors, architectural designer and installation artist Constanze Kreiser opens a philosophical examination of the mediating effect of light. She observes how an enclosure is gradually made lighter in the sense of weight and mass through the addition of openings that emit or filter light. Her polemic on lightness and darkness raises questions of how light measures time, space and inhabitation and the temporal rhythms of everyday existence. 

Light constitutes space in that it creates bright and dim zones, enabling the physical perception of a space.

Space does not originate with the construction of a building, but exists in the act of marking a small unit from an infinite quantity. It is exactly this process which is achieved by sunlight: that which it illuminates is outside, shadowed surfaces forming inside.

Depending on whether lightness or darkness dominates, inside space is a dark space by day and a light space at night. Thus inside space is dependent on light, it is in constant contrast to the prevailing light conditions. Inside space at night has, however, existed only as of the invention of artificial means of lighting – from pine-torches to light bulbs. By day, inside space floats like a dark island in a sea of light.

Bodies and Mirrors.

Ann C. Colley discusses the correlation between physical bodies and their surrounding, particularly  the space of nostalgia and recollection in Victorian literature. Working from the role memory plays in recalling our relationship to known environments. Her text through selected autobiographical accounts discusses the spaces of childhood through the invisible, aesthetic and ubiquitous body, and the proposal that the interior is not simply defined by objects within it, but by our movement and inhabitation around and among them.

Three distinct models of how the consciousness of one's physical being illuminates the interiors of home. John Ruskin text speaks of the invisible body, Walter Horatio Pater of the aesthetic body and Robert Louis Stevenson of the ubiquitous body.

They, Ruskin, Pater and Stevenson considered how their physical being had related to the walls and windows of childhood. Conscious of how this relation defines the sense of one's surroundings, they let their memories resuscitate the dialogue their bodies had once had with these interiors. They understood that it is the child's being that shapes and illuminates the interiors of home. Articles do not define interiors; bodies that move and feel their way among these objects do.

Intimus, Interior Design Theory Reader.

Their orientation anticipates those like Maurice Merleau-Ponty in The Primacy of Perception who argues that it is not through thought, absented from the body, that one knows one's surroundings, but through one's 'bodily situation' – that one is conscious through the body's position in space. This is taken further by twentieth- century architectural theorists such as Kent Bloomer, Charles Moore and Robert Yudell, who insist that one measures and orders the world from one's own body, and that the body is in 'constant dialogue' with the buildings surrounding it.

Body, Memory and Architecture. 

Drawing Inscriptions/Spaces/Breaths.

Remaining in the simplicity of our origins.

A Breathturn.

A flow of energy that wends its way ceaselessly through the world, animating it as it goes. 

Simple pots of simple thinkings/orderings and findings/feelings attained through the privilege/practice of the beginner's mind.

Sadhana, bearing the difficulties of existence.

Working Interiors for the making of the imagination.

Marking of a small subjective space from a infinite quality.

Ceramic Volumes/Vessels and Surfaces/Openings of Light and Dark.

On Drawing/Conversation.

Twombly/Artaud.

Corporeal Acts.

Documents and Sensation.

Images 'exist' in a domain of emotional and physical extremes.

.In drawing, acts of reading and perceiving are concurrent as a simultaneity of mental factors.

I am interested in the way the inter-connectedness between inscription and representation is 'grounded' in the primitive body. I an not speaking of the language of depiction and representation, but of what constitutes the mental energy of engagement, that is so evident in drawing. How the markers of an action translate the murmurings of the mind. For both drawer and viewer the mark and its imaginary space are encountered as a fact of existence as such it is the evidence of beingness, concerning those primitive, dark, and distant moments, etched in our psychic history that exist within the framework of the image that is now being invested in the work.

Avis Newman.

The Doctrine of Introversion.

The artist struggling to conform to the patterns of everyday existence. 

I can't respond to the society I live in.

David Sylvian.

Placidity.

Condemned to the eternal silence of processes.

Zhuangzi.

INTIMUS.

Mark Taylor, Julieanna Preston.

Matrix Key/Components, clockwise.

Practical Issues

The Field of Possibilities.

The Organizing Matrix.

Date of Publication.

Time Period Discussed.

Disciplinary Orientation.

 

Researching Bodies/Discursive Collages : Theoretical Objects/Desiring Machines/Diversions/Anomalies/Contradictions

 

OUTPOST STUDIO 3.16

Sensations in Space and Time (the experience/entanglement of phenomena and idea)

Agency/Foraging/Making/Gathering

Subjectivity is relational (always in process)

A Species of Making Spaces

Tentativeness, attentive to situatedness

A diffractive methodology enables a critical rethinking of science and the social in their relationality, moving beyond separate entities, separate sets of concern.

Karen Barad

Organism

Person

Environment

For Merleau-Ponty, Experience can only be understood between the mind and the body or across them in their lived conjunction.

The mind is always embodied, always based on corporeal and sensory relations.

Elizabeth Grosz.

Richard Serra : Verb List Compilation

Actions to Relate to Oneself, 1967-1967

Drawing in its frameworks and dimensions/presence and absence/its here and elsewhere

Exploring the fragility of a painting in the landscape

Canvas as sheltering construction, Raveningham Sculpture Trail

Diagram-Map-Chart, is a symbolic depiction emphasizing (mapping) relationships

Diagrams For The Imagination : Arakawa

Semper Femina : Laura Marling

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Litany Of Echoes : James Blackshaw

New Music, for old instruments : Paul Metzger, Jozef Van Wissem

Brilliant Trees : David Sylvian

Body As Cultural Product

Both psychic and social dimensions must find their place in reconceptualizing the body, not in opposition to each other, but as necessarily interactive.

Volatile Bodies/Chaos-Territory-Art : Elizabeth Grosz

Spatial Asperity/Mesh, Membrane and Gauze, Möbius Strip, Pattening,

Actuality : Robert Mangold

Paintings around the particles/flows of things/boundaries/intervals of presence and absence

Induction/Capacitance/Encapsulated Layers

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading/Matter/Rooms,

The Lake of The Mind

Stochastic Thinking, Steven Holl

Solitude/Libraries : Cell/Court/Domain

Capacitance, relationships between intensities and movements

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Flesh, elementary pre-communicative, subject and object develop.

Making as Growth : Tim Ingold

Social Architectures/Anthropologies/Imaginary Projects/Interfaces/Screens

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Paintings/Enactments : Canvas as a spatial verb

Espace-Milieu, painting as environment/entanglements and situations

Ceramic/Process and its theoretical objects

As a series of practices, making reality by bringing things together or separating them into their singularities, or making machines/desiring machines

Desire can be seen as an Actualization

Gathering Notations : Bernard Tschumi

Both presence and absence are coupled in this framework

Deleuze/Guattari

Glass/GLAS : Resistivity/Inclusions, A Field in England.

Translucent aesthetics, beyond the opacities of the sensible the rational.

An image that adequately expresses both the efficacy and the temporariness of the phenomena ( joining a diffused/invisible flow of energy, a breadth that wends its way ceaselessly through the world). Animating it as it goes.

Vital Nourishment, Departing from happiness, Francois Jullian.

What is a body capable of -

Spinoza

Building/Making, into the theoretical performative object (that does theory)

Albers/Clarke : Interactions, Counterpoints, Intervals between colour/forms,

Membrane, Discursive, Diffractive, Sensory, Layered and Filtered Light,

Body, Movement, Mind, Assemblages, Exploratory, Speculative, Choreographic,

Deleuze/Guattari, understand the body more in terms of what AFFECTS it is capable of, instead of the consequences of having a body.

Peter Zumthor : Thermal Baths

Human Agency/Temporal transitions between matter and movement.

Immaterial/Concrete/Water : Bodies in contact/the corporeal social human body

Manifolds/Theory of Temporality/3 Synthesis of Time

Memory Past Preserved Condition

Present Habit Instants Agent

New Future, actual/virtual Creation of The New

Multiplicity, purality of contemplating souls.

Asymmetries between particular past and general future.

Temporality involves multiple interacting processes.

Architecture becomes Spatial Agency

We all make space : Jeremy Till

Paintings, space, volume, surface, passages, actualizations, claddings/camouflage

One conceives and reads a building in terms of sequences, both phenomenological and filmic, reading a space by its depth of field, its thickness.

Turbulence House, New Mexico, Steven Holl.

Aesthetics/Asperities : Resultants that incorporate the friction (asperity) of their trajectories through a medium. Tilt-up concrete construction, Chapel of St, Ignatius, Seattle. Steven Holl.

Navigations and Vectors/conduits/intervals and traces between discursive practices.

Wrapped Silences : Assembled Sectional Elements/Thresholds

Surfaces on Mourning/Samsara, a beauty fed on emptiness

Architectural Materials,surface/forms/substance #1

Architectural Materials,surface/forms/substance #1, a photo by Russell Moreton on Flickr.

What is the capacity of the material ? Josef Albers.

What is the capacity of the material ? Josef Albers., a photo by Russell Moreton on Flickr.

Inseparable Attendant, with drawings.2011

Inseparable Attendant, with drawings.2011, a photo by Russell Moreton on Flickr.

Object as Architecture : The Surfaces of Relationships. DSC_5417

Object as Architecture : The Surfaces of Relationships. DSC_5417, a photo by Russell Moreton on Flickr.

Working Title : Site Photographs #3

Working Title : Site Photographs #3, a photo by Russell Moreton on Flickr.

Alternative processes : a site based abstract.
Hyde Abbey Gatehouse and Chamber, Winchester UK.

Architectural Abstracts : Glass and Light.

http://www.flickr.com/photos/russellmoreton/sets/72157629844185310/">Architectural Abstracts : Glass and Light., a set on Flickr.

Body and Space.

DSC_4643ab, a photo by Russell Moreton on Flickr.

Hybrid drawing, part trace, part photogram.