Rendering Visible : Heuristic Mappings/Assemblages and the Production of Open Subjectivities

Visual material must capture non visible forces. Render visible, not render of reproduce the visible

Deleuze and Guattari

Interior : Gridshell

A Hut of One's Own, Ann Cline

For Irigaray, wonder corresponds to time, to space-time before and after that which can delimit. 

Wonder constitutes an opening prior to and following that which surrounds/enlaces.

The Intuition of The Infine

The intuition of a subject that at each point in the present remains unfinished and open to a becoming of the other that is neither simply passive nor simply active.

The Poetics of Space : The house, from cellar to garret. The significance of the hut.

"He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to  the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar."

Gaston Bachelard.

Texts,Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines,

Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane
“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
 Edward Thomas not only thought on paths and of them, but also with them.”


“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0205 Archipelagic

Research Collage, Waverley Project/Reading Rooms

Blueprints : Anthropological Forms
Botanical traces with leper graves

Walberswick : DSC_0181a/Digital Pinhole. 2016

Being/Becoming : Aesthetics and Subjectivity
Gaston Bachelard, The Poetics of Reverie.
Nick Cave, The Lyre of Orpheus.
Hildur Gudnadottir, Saman.

Prints From Secrets and Ambiguity
Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an image?
— Jean Baudrillard, The Conspiracy of Art, 2005

Jana Sterbak
Remote Control 1989

A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.

Sensate
Non Spaces : Fire escape Winchester School of Art

https://www.flickr.com/photos/russellmoreton/

Corpus/Borderlands : A Society in Excess, Marc Auge.

Corpus : Photographic drawings from human outlines

Borderlines : Cley 19, speculative submission for exhibition

ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS.

CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. 

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.

Submission Guidelines

All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.

BORDERLINES

Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.

Geographical Environmental Landscape

Terrain

Migration (Wildlife/Humans) Transmigration

Socio Political Departure

Borderlands

Borderlines

Borders

Lines

Spiritual Embodied Walking

Wandering 

Wanderlust 

Movement

Borderlines, simultaneously both boundary and threshold.

Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,

Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.

 Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass. 

Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal. 

Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels. 

Cell, Court, Domain, Field : Layered paper, paint, and absent objects.

Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.

Working Notes/Extracts and Fragments from site visit. St Margaret's Church

Silence and stillness, social/historical shelter from/within the landscape

A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage. 

An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.

Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.

Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.

What does Borderlines mean to you? Boundary and Threshold

Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,

Material Process/Inquiry, Praxis, Content, Context

Form, Existential Qualities/Values AGENCY

Mindfullness of the brief to discover things through the inquiry and engagement with the site. 

Develop Inquiry

Documentation, Artist Book, and other media mixed media painting

Small series of glass panels ceramic tiles/facades

Photographic material/photograms, drawings/hangings on Chinese paper

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 modem 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

Walking into Emergent Landscapes 

Walking/Thinking/Physical Entanglements in the Landscape

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

Anthropological Entanglements/Emergent Landscapes : Strange Tools/The Rings of Saturn

 

Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0585 Covehithe : Walking/Thinking/Physical Entanglements in the Landscape

Natural History : Dried Carnations

Blueprints : Anthropological Forms

Botanical traces with leper graves

https://www.flickr.com/photos/russellmoreton/

Contexts:

Art therapy , Exhibition , Open studio , Practice-based research,

Artforms:

Film & video , Painting , Photography , Printmaking,

correspondences and mediums /Drawing/Speculative Learning Environments

Outpost 300823

Mediums To Correspond With.

The Situatedness of Sinuous Form/Animacy Dancing.

Living/Learning with intensity/shelters and camps, AA Field Projects.

Garden Constellation.

Raveningham Transductive Mapping/Diagram.

Cyanotype Spatial Drawing.

Transducers convert the 'ductus' the kinetic quality of the gesture and its flow or movement from one register of bodily kineasthesia to another of material flow. 

Brockwood Teaching Academy. 2011.

Speculative Learning Environments.

Brockwood Park Grounds.

A walk in the landscape whilst moving-making with clay.

Developing a mindfulness that is immanent in the attentiveness to ones surroundings through the playfulness of material and others.

Brockwood Park Library.

Hidden Curriculum.

Assemblage in the library for the re-imagining of architectural thinking and spaces for learning.

Architecture without architects.

Throwing Sticks.

The energies of the work,come from the gathering of materials and the gesture that animates them. For Goldsworthy the strength of the work lies precisely in the energies emanating from materials in their movement, growth and decay, and in the fleeting moments when they come together as one. Throwing as Goldsworthy shows us is not so much the outward effect of an embodied agency as the propulsion of animate being as it pulls, spills out into the world, it is the propulsion of life itself. 

Ingold/Goldsworthy

Relationscapes/Erin Manning

Making.

The Propulsion Of Animate Being.

Tim Ingold.

The Clay-The Potter-The Wheel.

The potter's feeling flows in and out in a correspondence with the clay.

You do not need clay to 'interact' with the wheel, but you do need a wheel to 'correspond' with the clay. In pottery the mindful or attentive bodily movement of the practitioner, on the one hand and the flows and resistances of the material on the other, respond/correspond to one another in counterpoint of affective resonances, sentient awareness, and the  flows/currents of animate life.

The distinction between interaction and correspondence if that, interaction is the dance of agency between definable points and objects, whilst correspondence can be seen as the dance of animacy weaving between all things and their phenomenal flux in the world.

In the dance of animacy bodily kinaesthesia interweaves contrapuntally with the flux of materials within an encompassing morphogenetic field of forces.

The flow of air, the wind, the breath of life are all the very antithesis of embodied agency.

For Ingold the very idea of agency and agents is the corollary of a logic for a closed system of embodiment, a system of closing things up in themselves.  

Making/Intuition In Action.

Beyond mere human embodiment and objects and into a world full of correspondences/animacies that propel things and phenomena into the world. 

World Without Objects, Tim Ingold.

The choreographic diagram/proposition generates less the stability of a complex of form, than the foregrounding of a field of resonance that defines a certain quality of activity. It speaks/seeks to create a drawing/diagram that captures in a fleeting moment the very qualities of movements and their expressibility such that their force of form can be felt.

Erin Manning.

Drawing, seeing made visible, through the pencil as transducer, not a vector of projection or a bridge between the architects imagining mind and the image on the paper.

The mark on paper leads as much as it is led.

Tim Ingold advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.

Individuation's Dance, pushing your consciousness deep into every atom and cell.

Atom and Cell, Nine Horses, David Sylvian.

Correspondences.

The Material of Life.

Drawing into the animacy of things and feelings.

The drawing that tells is a correspondence of kinaesthetic awareness and the line of flight, it is a correspondence that is alternatively sewing the line into the mind and the mind into the line in a suturing action that grows tighter as the drawing proceeds.

The Stage of Drawing, A Walk for Walks Sake, Bryson.

Instead of dictating a thought, the thinking process turns into an act of waiting-listening-collaborating-dialogue in which one gradually learns the skill of co-operating with one's own work. This thinking, this imagining goes on as much in the hands and fingers as in the head, it is strung out in the lines of practice.

Pallasmaa/Ingold.

Thinking Through Drawing.

Barry Phipps.

Drawing is a gathering and a co-operating with one,s own work, a pulling together closer of the lines of inquiry. 

Drawing The Line.

Making/Transduction and Perdurance.

Tim Ingold suggests colour saturates consciousness, line leads it. Thus if the line traces a process of thought then colour is its temperament. Both line and colour are modalities of feeling, but where line is haptic, colour is atmospheric. 

All Buildings are Drawings.

Simon Unwin.

Only in the eyes of the architect is the trowel a bridge between the initial design and the final construction. For the builder it allows him to navigate the treacherous waters that flow beneath.

Tim Ingold.

When one is young and narrow minded, one wants the text and the drawing to concretise a preconceived idea, to give the idea an instant and precise shape.

Juhani Pallasmaa.

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

Dwelling in Brockwood/Kilquhanity : Drawing isn't a matter of tools but perception-a form of engagement.

Outpost 140223

Matters of Concern.

Starting conditions for responsible and curiosity driven engagements with the world. 

Creative entanglements in a world of materials.

https://www.flickr.com/people/russellmoreton/

Improvisation is drawing.

Drawing isn't a matter of tools but perception-a form of engagement.

Roni Horn.

Kilquhanity Free School.

Mission statement to enjoy childhood.

Kilquhanity promotes a playful difference amongst the locality.

Back To Freeschool : Drawing Out Of The Archive.

At Freeschool I turned a dwelling place into both a site of introspection and a social construction.

By living together as a social group, learning by the practical 'doing' from which to extract a sense of practical wisdom.

Useful work, promotes a sense of being amongst the social group, of an equality of joined forces for the benefit of Kilquhanity.

Kids encouraged to build camps around the grounds, personal and inter-personal temporary structures that reinforce our sense of 'passing through'.

Kilquhanity seems to suit the individual with confidence and those with good social skills, Architects, Film Makers, Craftspeople, others have found it difficult to rejoin society.

Brockwood Park School

Our consciousness is not actually yours or mine, it is the consciousness of humanity evolved, grown, accumulated through many, many centuries, when one realises this our responsibility becomes extraordinarily important.

J. Krishnamurti.

Projective Speculations, through questioning and research, asking ourselves, how are our intraventions capable of generating previously non-existent possibilities or ideas?

How can architectural projections become tools for engagement in the actual transformation of the world, and to what extent can they be tools for thinking as well as for the articulation, interrogation, and challenging of discourse.

Intraventions in live situations are the main form of engagement, we take part from the inside, in the construction and articulation of 'sites'. We do this by using expanded conditioned, ecologies, localities and actors within a phenomenon in which we operate 'an architecting' as responsibly as possible.

Oren Lieberman, Alberto Altes.

Raveningham Site Visit/Walking in the Landscape.

Ephemeral-Site-Drawings.

The Choreographic Object in The Lanscape.

Land/Demarcations/Spaces/Occurrences with others

Filtered light pieces/land markers

Field Studies/Gathering/Dwelling/Reading/Light/Time/Media

A Phenomenal Lens.

Water/glass dishes/construction, floating/submerged objects/.Cyanotype Print.

Sculptural Array/Sky Watcher/Imaginative Spaces.

Apparatus for Solargraphy.

Mast/Conductor/Transponder,

Hungate Study Day.

Corporeal Annotations.

Reading/Materials/Substances/Phenomena

Water/Light/Architecture/Vessel/Place/Canvas/Filtered Light/Ceramic/Clay

Undercroft Norwich.

Plaster/Slab Components/Assemblages/Forms

The Geography of What Happens : Environment/Perception

The Perception of The Environment, Livelihood, Dwelling and Skill. Tim Ingold.

Archaeology, Anthropology, Art and Architecture.

“ We live amongst the specta of destructive mythologies, that have been narrowly racial, ethnic, denominational and egotistic, all culminating in the condition to exalt the self by demonising the other.”

“Eliot laid bare the sterility of contemporary life, The Waste Land where people live inauthentic lives”

A Short History of Myth, Karen Armstrong

The Ruins, a wasteland, fragments of a spiritual integration.

The Existential Value of Design

“Design as” Tools and Apparatuses for Spatial Practices/Deeper Social Ecologies (crafting and constructing new political genres)

The responsibility of “Design” in the development of an experimental rather than a representational approach to the social sciences, the arts and the humanities.

An Architectural Interior that through “Listening to, and working in the Landscape” can produce a creative reverie, manifested by materials and acts; and through innovation and creativity produce a deeper ecology for learning that is able to keep abreast of our technological genius.

PRACTICAL ISSUES.

The Geography of what happens, Space, Politics and Affect.

DE-Fusing URBANISM

Paths and Thinking with them

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

“Macfarlane has a rare physical intelligence, and his writing affords total immersion in place, elements and the passage of time” Antony Gormley

What do I know when I am in this place that I can know nowhere else?

What does this place know of me that I cannot know of myself?

HEIDEGGER’S TOPOLOGY

BEING, PLACE, WORLD. Jeff Malpas

The Deeper Significance of The Sensory World

Beauty, Roger Scruton

Walking into Emergent Landscapes : Covehithe Beach

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,