Overspilling Forms : Unnoticed Displacements/Tensions and Correlations~The Silent Transformations

 The Fluidity Of Life.

(or how one is already the other)

The notion of silent transformations encountered in the corner of a page. How will these unnoticed displacements, the silent transformations one day be considered.

Francois Jullien

The Silent Transformations

Things Superimposed~Dispositive~Spill

Overspilling Forms~Sympathy~Abject(ion)

Architecture In Abjection

Bodies, Spaces And Their Relations.

Zuzana Kovar

Gaston Bachelard.

John Piper.

Lucio Fontana.

https://seagullbooks.org/products/the-silent-transformations

To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption—just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern—specifically Chinese—ways of thinking about time and processes of change.

Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought’s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.

In The Silent Transformations, Jullien resituates Western philosophy by examining it in the light of traditions of thought that have developed from fundamentally different concepts and contexts. Jullien here opens a space for a new way of thinking, and this refreshing book will stimulate the interest of scholars in both Western and Eastern philosophy.

Slow Materials~Silent Transformations/Philosophy : Spaces beyond objects/The Movement~Sympathy of Ideas and Feelings.

 

Outpost 220921 

Loose Assemblages : The Movement of Ideas and Feelings.

The Sympathy of Things.

Lars Spuybroek.

‘If there is one thing we can learn from John Ruskin, it is that each age must find its own way to beauty’ writes Lars Spuybroek in The Sympathy of Things, his ground-breaking work which proposes a radical new aesthetics for the digital era. Spuybroek argues that we must ‘undo’ the twentieth century and learn to understand the aesthetic insights of the nineteenth-century art critic John Ruskin, from which he distils pointers for the contemporary age. Linking philosophy, design, and the digital, with art history, architecture, and craft, Spuybroek explores the romantic notion of ‘sympathy’, a core concept in Ruskin’s aesthetics, re-evaluating it as the driving force of the twenty-first century aesthetic experience. For Ruskin, beauty always comprises variation, imperfection and fragility, three concepts that wholly disappeared from our mindsets during the twentieth century, but which Spuybroek argues to be central to contemporary aesthetics and design. Revised throughout, and a new foreword by philosopher Brian Massumi, this is a new edition of a seminal work which has drawn praise from fields as diverse as digital architecture and speculative realism, and will continue to be influential as it wrests Ruskin’s ideas out of the Victorian era and reconstructs them for the modern age.

 Xenotheka

Bento's Sketchbook : John Berger

Existence appertains to the nature of substance.

A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.

Ethics, Part 1, Proposition VII, Proof

Conscious minds arise from establishing a relationship between organism and an object-to-be-known. 

The Feeling of What Happens, Body, Emotion and the Making of Consciousness

Antonio Damasio. 1999.

Architectural Body

Organism-Person-Environment

Arakawa and Gins.

The Silent Transformations.

François Jullien.

To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption&;just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern&;specifically Chinese&;ways of thinking about time and processes of change.

Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought&;s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.

In The Silent Transformations, Jullien resituates Western philosophy by examining it in the light of traditions of thought that have developed from fundamentally different concepts and contexts. Jullien here opens a space for a new way of thinking, and this refreshing book will stimulate the interest of scholars in both Western and Eastern philosophy.

Xenotheka

Drawing is a  form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

The Human Body through drawing and philosophy

Berger/Spinoza 141

Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.

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

Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square

Improvisations/choreographed with the music/ambient noise are exploratory encounters  between flesh and sound

A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise

Vibrant yet curiously passive form of  urbanism

Affectivity as a mimesis of lively transfers between things, humans and non-humans

Human subjectivity : Mimetic Encounters/Explorations

Art works by gathering up forms and materials for affective experimentations in subjectivity

Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another. 

Intentionality/Sympathy/Sentiment/Difference

Inducing a particular set of ethical/political/social responses in actor/social audience 

Mimesis : Paradox or Encounter. Jane Bennett

Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh

Francesca Woodman

Mimesis and suggestion in the social, enacted through layers of mediation surrounding humans, objects and non-humans.

Camouflage. Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming 

Making Correspondences : Anthropology Alongside Visual Art Materialisms

 

Visual Art Archive : Russell Moreton

russellmoreton.com

Making : Anthropological Objects~Fabrications on Humaning.

Tim Ingold.

Ceramics~Fired Clay.

https://www.curatorspace.com/artists/russellmoreton

Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is interested in developing collaborative and speculative making spaces where craft, theory, art and architecture can come together.

A site-based practice that further develops into speculative learning, creative propositions for knowledge production through Spatial Practices.

Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assembled forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).

Interior Design MA, UCA Farnham. Spatial Practices MA, Canterbury School of Architecture. Visual Art BA Hons, Winchester School of Art. Ceramics HSND, Epsom School of Art and Design.

Russell Moreton Saatchi Artist.

Waiting Room Installation 2007 : Visual Art Winchester School of  Art.

Outpost Studios, Gildengate House. Weather world correspondences, stained glass, plastic tape.

Textual Readings~Documents in Movement~Thought.

Changefulness : Clay inscriptions carried through to fired clay. 

The Sympathy of Painted Light (detail). 2025, Ceramic, 170mmW and 270mmW x 260mmH x 80mmD.

Fired Clay Books~Folded and fabricated interiors. 

Making~ Developed from earlier craft based methodologies of working in ceramics, glass and construction. My practice now embodies professional studies in visual art, spatial practice, interior design and teaching art in education.

https://axisweb.org/artist/russellmoreton

For Bachelard : Reverberations~Conduits between philosophy~poetic writing relations of human and spatial bodies.

The artwork featured in the image is titled "Apparatuses: A Litany of Echoes~Resonances" by the visual artist Russell Moreton. 

Artist's Practice: Russell Moreton is a visual fine artist who explores themes surrounding "making," architectural space, and the interplay of materials like clay to demarcate and construct environments.

Materiality: His work frequently investigates the imprint of the artist and the metaphysical, immersive nature of his chosen media, often utilizing processes that evoke construction and the physical manipulation of materials.

Architectural Inspiration: Moreton is notably drawn to the solitudes of libraries and the sounds of construction, often using his practice to engage with the concept of architecture as tranquility.

This item is a sculptural work by fine artist Russell Moreton. It is a slab-built ceramic piece, often exploring themes of architectural space, silence, and materiality. The artwork is part of his practice involving the investigation of interior spaces and constructing space through clay.