Outpost 111225
The Everyday.
ANTONIO He misses not much.
SEBASTIAN No, he doth but mistake the truth totally.
The Tempest.
The Transparency Of The Morning.
One never sees what is always seen.
The immediate, just like the simple, the natural and the ordinary, does not perceive itself.
Substances : Artworks, rituals of purity and impurity.
Demarcations/Systems/Fields of order and contravention.
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Knowing that this clarity which has sprung up will soon dissipate.
Morning coincides with the emergence, giving back a possibility of springing up, of rising before the day has started to spread out.
For Jullien, it is possible to gain access to it only as we gain access to the immediacy of the day from the night. A world in which living is not right away (in which respect metaphysics is correct) it is necessary to cause it to rise. But without again being concealed by whatever has been entrusted with revealing it.
Life, is devoted from the outset to what its 'end' might be (telos) in the full sense of the Greek word.
Telos, at once a conclusion, aim, perfection, abandoning all the preceding 'between of life' to indifference.
The Way- Without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
Developing Open Subjectivities/BwO : Visual Art, Winchester. 2006.
https://www.flickr.com/photos/russellmoreton/
Bodies are conditioned by architectural surrounds.
Architectural Body.
Reversible Destiny.
Arakawa and Gins.
The transformative body, creates bodily interiors/relations that can open up to become productive alliances in which using spatial bodies, (other than the ideal types) they can be brought into new affiliations with systems outside of their boundaries.
Creating an affective intensity.
Human Bodies/Spatial Bodies.
Relationscapes/Bodies/Events.
Organism-Person-Environment
Event-Space-Movement, superimposed over one another creates disjunction(Tschumi) and assemblages (Deleuze).
Drawing/Beginning a dialogue with matter/material between human bodies and spatial bodies.
Simple articulations (frottage) with the immensity and immediacy of the everyday.
Abstracted-Diagrammatic-Inhabitations.
Paintings/Drawings/Sculptures/Instalations.
Francis Bacon.
The Logic of Sensation. 1981, 2003.
Deleuze.
Reliquaries/Enclosures of Spatial Silences and of Light/Air.
A type of labyrinth with a momentary impossibility of escape (soul cages) these are minoritarian architectures (Deleuze).
Real Spaces for Fictional Events.
A becoming architecture to provoke potentials to occur.
On the everyday, abjection of the human body.
The Clinic.
Bathrooms are spaces associated with the clean body and simultaneously with the dirty body. They are spaces that allow for hygienic evacuation of our excretions, they order our un-containment.
At the end of the day , the curtain is hung and there is a certain visceral repulsion to the damp curtain hanging in the window. To the drying of our bodily excretions and their gradual visual indiscernibility with the fabric. So no one knows what the fabric has absorbed.
All that remains is us, inhaling ourselves as air passes through the curtain and into our lungs. A re-absorption of our expulsions.
Zuzana Kovar.
The work of Deleuze and Guattari as a whole provides a way of approaching all bodies void of a dualistic framework. In particular for Kovar, Deleuze's work specifically touches on abject(ion) through his notion of an open and transformative or spasmodic body, which he discusses in the work of Francis Bacon.
Figure at a Washbasin. 1976
Francis Bacon.
Event-spaces in the paintings of Francis Bacon.
The Body-Figure/Figural-Event.
From the start, the figure has been a body and the body has a place within the enclosure of the painting from which the figure expels itself, gymnastically on the fields of colour. Is this the event of a body escaping itself into a figure, of the body in Deleuzean terms of trying to escape any notion of identity/form of repression?
For Bacon, the body-figure exerts an intense motionless effort upon itself in order to escape down the blackness of the drain. This plexus (the body as plexus) its effort or waiting for a spasm, becomes for Bacon a painterly approximation of horror or abjection.
Paintings that create spasms that re-order the human organism, in order to escape it, by growing bodily organs as prostheses, or by allowing the enclosure of painterly space and contour to become an apparatus, an extension of the body-figure-figuration.
The body waits to escape itself in a very precise manner, to escape itself via a spasm, the movement of the figure towards the material structure, towards the field of colour.
For Deleuze, the body repeatedly attempts to escape the organism, the particular organisation of organs that may be understood as constituting the subject the 'I', for Deleuze the body attempts to escape the 'I'. It is not 'I' who attempt to escape from my body, it is the body that attempts to escape from itself by means of, a spasm. But the body is not simply waiting for something from the structure (its place is an enclosure), it is waiting for something inside itself. It exerts an effort upon itself in order to become a figure now it is inside the body that something is happening, the body is the source of movement.
Athleticism, The Logic of Sensation. Deleuze.
Elliptical Circulations
Studio Wall Spaces/Artist's Books.
Between 'Devices'
Documentation/Research/Reading/Places/Images
Interpolation/Interpolation/Interstitial.
Sculpting In Time.
Tarkovsky.
The Poetics of Space.
Gaston Bachelard.
