Dissolutions and Structures. 2013
Sun based temporal documentations.
Showing posts with label temporal. Show all posts
Showing posts with label temporal. Show all posts
Sunday, 22 June 2025
Thursday, 2 May 2024
Melancholy Landscapes : The Plague/Vermilion Sands
Film Collages, hybrid processes and temporal states
Liminality : Literature/Philosophy/Visual Art
Landscapes : entering/intruding/emerging (holga819)
Existential Gestures : Looking away from the sea
Ballard : Vermilion Sands : Speculative Fields/Spatial Practices
Albert Camus : The Plague, 1947. (Penguin Fiction)
The townspeople of Oran are in the grip of a virulent plague.
Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.
Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.
'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times
06/04/2020
Thursday, 29 June 2023
Tarkovsky filming the Instant : Flux and Quality in Nature's Time
Reflective Narratives around The Instant
Art and Aesthetic Patterns
The theme of the human body as landscape and the biological link between humanity and nature
Filmic Modalities
An Ecology of Mind
We are so accustomed to thinking of aesthetic phenomena as a discursive or representational construct, that we often forget that without arousal of perception, no aesthetic experience is possible.
Going beyond what it may represent into the important psychic information it contains
Bateson credits art with playing the role of confronting the quantitative limit built into consciousnesses
Art assists mind in recognizing that the potentiality of heightened consciousnesses exist and that it resides in you and in me
Perception of Environment/Relational Situations
Tim Ingold
Each thing framed dwells in the world differently.
The frame and framing, through its configuration, must never offer a gap or a bridge through which as it were, the world could get in, or from which the picture could get out.
The picture frame reminds us that the work of art, while it hangs in our room, does not disturb our day-to-day sentient and perceptual ecologies.
It is like an island in the world that waits until one approaches it and which one can as well pass by and overlook.
On The Picture Frame, Simmel
Art becomes art by virtue of literal and institutional framing
Aesthetic contemplation blurs reals and emotional space in a way that produces tangible affects in the world
The thinking hand that mediates a haptic bridge in which creating and holding, becoming and grasping are all practical everyday activities extending the thinking body
Objects that stand in two worlds at once and becoming drawn into the movement of practical life through the virtue of being held in the hand
The intermingling of persons and objects in pictorial space and the aesthetics of the intermingling of function and form in everyday things
The pictorial space is one in which persons and images intermingle and passions can be aroused.
Art and Agency, Alfred Gell
Nature as “Comfort Zone” in the Films of Andrei Tarkovsky by Donato Totaro
Volume 14, Issue 12 / December 2010 18 minutes (4324 words)
In this essay Totaro analyzes the unique thematic and aesthetic import of Tarkovsky’s use of nature.
In this essay Totaro analyzes the unique thematic and aesthetic import of Tarkovsky’s use of nature.
Tarkovsky relies on nature and natural phenomena to underscore and often dictate the time-pressure (rhythm) of a shot. The movement of time, its flux and quality, flows from the life-process that is recorded in the shot. Even though the fires, downpours and gusts of wind are staged, re-shot or recreated there still remains the spontaneous element of “nature’s time” within the filmic time. Each of the natural events and elements (water, wind, fire, snow) have their own sustained rhythm. Tarkovsky uses these natural rhythms to express his own, that of his characters and the temporal shape of the film (23-24).
I would like to conclude this analysis of Tarkovsky’s unique use of nature as a ‘comfort zone’ by saying a few things about his two science-fiction films, Solaris and Stalker. Solaris is based on the great same-titled science-fiction novel by Stanislaw Lem. The many philosophical and ethical differences between the novel and film can be summarized by the fact that, whereas the novel begins in space on the Solaris space station orbiting the planet Solaris, the film begins with a 45 minute prologue on earth, which establishes the importance of home, family, and ‘mother’ earth to the psychologist Kris Kelvin (and by extension all humans), who is soon to leave for outer space. The theme of the human body as landscape and the biological link between humanity and nature is established right from the opening, a (second) slow motion close-up shot of plant life swaying under a crystal clear stream that slowly pans right to reveal the hand of a man wearing brown trousers and a dark leather coat standing amidst waist high reeds.
http://offscreen.com/view/nature_as_comfort_zone
Waverley Abbey
Reflected ruins in flooded interior
Photogram formed from a design collage for The Reading Room, Waverley Abbey.
Intuition of the Instant : Gaston Bachelard
Friday, 10 March 2023
Photographic Spatialities : Geographies of Art and Architecture.
Images/Energies/Collages : Core, Periphery and Semiperiphery :
Thursday, 9 March 2023
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
"In the water" : Pinhole Photography/ Floating Camera
Tuesday, 19 April 2022
Film Abstracts : The Ruins of Cinema
Heuristic Material : Collage
1. Encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.
2. Serving to indicate or point out; stimulating interest as a means of furthering investigation.
http://offscreen.com/view/personal_memory
1. Encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.
2. Serving to indicate or point out; stimulating interest as a means of furthering investigation.
http://offscreen.com/view/personal_memory
Saturday, 26 February 2022
Photography/A Fragmentary Whole : The Temporal Flow of Things
Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,
"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity
is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin
with the same concept,
they do not have the same concept of beginning...
Every concept has an irregular
contour defined by the sum of its components,
which is why,
from Plato to Bergson,
we find
the idea of the concept being a
matter of articulation,
of cutting and
cross-cutting.
The concept is a whole because it totalizes
its components, but it is
a fragmentary whole.
Only on this condition can it escape the
mental chaos
constantly threatening it, stalking it, trying to reabsorb it."
-- Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.
“Philosophy is really homesickness,” says Novalis: “it is the urge to be at home everywhere.”
Literary cartography is not a literal form of mapmaking, after all; rather, it involves the ways and means by which a given work of literature functions as a figurative map, serving as an orientating or sense-making form.
Lukács’s Literary Cartography:
Spatiality, Cognitive Mapping, and The Theory of the Novel
Robert T. Tally Jr.
Path : Circular, Stonehenge
Transparency,time and matter #2
Camera Obscura : Kilquhanity 2011. #4
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".
Blue Spaces : White Absences #2
https://visualartpractices.wordpress.com/
Walking into Emergent Landscapes : Covehithe Beach
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,
London/Millennium Bridge : Architectural Abstracts/Drawing Traces
Saturday, 26 January 2013
Wednesday, 23 January 2013
Thursday, 15 November 2012
Tuesday, 13 November 2012
Friday, 25 May 2012
Monday, 14 May 2012
Registering overlapping spaces #2
Public intimacies, personal dialogues in social spaces.
"Blocking in" of a private studio space of creative inquiry into the public realm as a permeable intervention.
Main reception area,UCA Canterbury 2010.
Russell Moreton, Spatial Practices.
Sunday, 18 March 2012
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