Existing between the subjectivity between things.
You Are The Weather.
Roni Horn.
Clouds and Clocks.
The project arises between a dialectic between the poetic and the systematic.
Between Science and Art.
The Embodiment of Minimal Gesture.
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Wanderlust, A History of Walking.
Rebecca Solnit. 2002
The Mind at Three Miles an Hour.
Everyday Aesthetics : Ordinary Lives
What shall I do next?
Tim Ingold.
Finding enlightenment in the ground beneath one's feet.
J. G. Bennett.
Tim Ingold is an anthropologist who has looked at the interface between people and the environment. In The Perception of the Environment, he argues that ecological psychology and the philosophical writings of Heidegger and Merleau-Ponty share the view that the world becomes meaningful through active inhabitation, or 'dwelling', rather than cognitive representation.
Curriculum Making : The Enactment of Dwelling in Places.
In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'
Tim Ingold
Raveningham/Scripted Places
Garden/Ground/Circulation Diagrams.
Doing Slow Philosophy : Materials/Objects/Things/Walking/Listening to the wind
Boundaries/in the making between the personal and the commonly shared.
A space where the individuals mental reality meets cultural narratives.
Few boundaries are impenetrable
They are rather, semi-permeable membranes providing housing while allowing selective commerce
In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'
Tim Ingold 2011
The Autonomy of The Natural Environment.
Sculpture/Playing with the existence of things.
Field Studies : Pathways around the Sun.
Drawing : Assemblage of Lightness and Weight.
Enmeshed Space : Working Drawing with Handwritten Notes.
Lawn Deliberations/Mappings of Human Agency/Space/Time.
Space projected from the body is biased towards the front and right.
The future is ahead and 'up.'
The past is behind and 'below.'
Time as a structure/place to observe things in constant motion/relation.
Drawing Site/Spiral Windings/Diagram/Spherical Markers
Terracotta, lime wash/lamp black/blackboard paint/chalk/ink
Ground Pegs/Labels/Text Markings/Archival Information
Points becoming lines, Tim Ingold.
Reading Matter/Rooms.
The Lake of The Mind.
Stochastic Thinking.
Steven Holl.
Raveningham : Site-specific project place
The Garden of Ongoing Differences.
Diffraction/Energy/Analysis/Attunement
Site Cyanotypes/Drawings/Intermediaries
Spatial Collages Reconfigured
Walking/Thinking with Ideas/Observations.
Site Drawings and Observational Mappings.
Cultivation Field.
The circle and square together embody what I think of as human nature.
Dark Room, Garry Fabian Miller.
If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.
Ben Highmore
Rich Lyrical Motifs.
Brilliant Trees.
Within each lesson lies the price to learn.
David Sylvian.
Artist's Development.
Planting Research
Vital Nourishment.
Raveningham Garden Project.
Circle/Linear Time/Centred on objects.
Spiral/Deep Time/Awareness between things.
Architectural Ceramics.
Inseminations/Sketchbooks
Cell/Seeds/Dispersal/Cloud
Organism-Person-Environment
Working Ideas/Proposals into Matter/Making
Contents/Description/Instructions/Diagram/Drawing
Presentation/Ritual/Repetition.
Art is contemplation and must act upon our consciousness.
Objects/Things are part of the artist's immediate existence.
Contemplative experiences become truly meaningful when they occur in everyday life and when nirvana or the state of superior awareness blurs into samsara or ordered time.
For Tapies, repetition is above all else a perpetual questioning or a perpetual becoming.
A working process that is additive, which incorporates changes and accidents and as such his methods are hardly erasing anything that is already present on the canvas.
A Summer's Work, Antoni Tapies.
The Garden/Material of/for Forking Paths.
The Diagram/The Program/The Inquiry
Marking Durations.
Ground Mappings.
Solar/Daylight Observed/Shadows Recorded
A Garden Observatory/Philosophy of Silence/Solitude.
Raveningham Sculpture Trail.
Site Visit 160423
Sculptural Spacings and Sensual Engagements.
Showing Points/Lines/Vectors of Change/Movement.
Dwelling Demarcations/markers of temporality and disappearance.
A poetics derived/driven from both the systematic and the small wonders of the everyday.
Circular Breathing/Cyclical Lines.
The Peripheral Movement/Moment
The Space/Time between things.
The Concept of Sculpting Invisible Materials.
The Array, a phonographic inquiry recording transits of the suns pathways across the sky.
Wanderings, caught up in the wanderlust of stillness and slowtime.
Paths of movement, paths of observation, paths of existential abstractions following daylight.
The artist's creative act of a self amongst others.
A sculptural deliberation that engages with the experiences of working a site in the landscape.
Curatorial.
Spatial Practice.
Practice/Display/Audience.
Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a project of the mind.
Tim Ingold 'Making'
Camouflage : Neil Leach
Camouflage offers a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.
Camouflage may therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.
Aesthetic production should maintain the capacity to operate as a mediation between the self and the environment, but only aesthetic production whose design has been carefully controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively mapping an individual within the environment.
Design becomes a crucial consideration for the effective operation of camouflage.
In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.
The thing contained is not the thing contained.
Manifesto for explorations of 'IN'
Steven Holl.
