J G Ballard, matters of aesthetics : The Plague of Images

The planet drowns in an ocean of photographic emulsion.

The more civilised we are, the fewer moral choices we have to make. But the mind atrophies. A moral calculus that took thousands of years to develop starts to wither from neglect. Once you dispense with morality, the important decisions become a matter of aesthetics.
Super Cannes, J G Ballard. 2000

Speculative Fields/Spatial Agents

Textual Realities, J G Ballard on Chris Marker

La Jetée "a fusion of science fiction, a psychological fable"

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

DSC_0149 Light/Darkroom

Cinema, Mizmaze St Catherine's Hill.

Amorphous Photography : Star Trails
Prints from an Archive of Negatives

"He rubbed his eyes. The riddle of his surroundings was confusing but his mind was quite clear - evidently his sleep had  benefited him. He was not in a bed at all as he understood the word, but lying naked on a very soft and yeilding mattress, in a trough of dark glass. The mattress was partly transparent, a fact he observed with a sense of insecurity, and below it was a mirror reflecting him greyly. Above his arm- and he saw with a shock that his skin was strangely dry and yellow - was bound a curious apparatus of rubber, bound so cunningly that it seemed to pass into his skin above and below. And this bed was placed in a case of greenish-coloured glass (as it seemed to him), a bar in the white framework of which had first arrested his attention. In the corner of the case was a stand of glittering and delicately made apparatus, for the most part quite strange appliances, though a maximum  and minimum thermometer was recognizable."

H. G. Wells : The Sleeper Awakes. 1899/1910

Spatiality : The Spatial Turn, Robert T. Tally Jr. 2013

Immediate Architectural Interventions, Durations and Effects : Apparatuses, Things and People in the Making of the City and the World. Alberto Altes Arlandis, Oren Lieberman. 2013

Preface (1921) ” The great city of this story is no more than a nightmare of Capitalism triumphant, a nightmare that was dreamt a quarter of a century ago. It is a fantastic possibility no longer possible. Much evil may be in store for mankind, but to this immense, grim organization of servitude, our race will never come” H.G. Wells. EastonGlebe, Dunmow,1921.

Veiled Melancholy/Book Narratives : Film Collages

Theatre/Studio : Art Practice in Re-imagining Education

Hidden Curriculum : Art Practices in Education

Speculative Learning Environments : Discursive and practical methods of inquiry.

Contexts : Conference/Symposium, Practice Based Research, Public Art, Socially Engaged, Technical/Fabrication, Curatorial, Educational Project, Further Education,

Artforms : Mixed Media, Printmaking, Painting, Drawing, Architecture, Environment, Intervention, Performance, Installation,

Brockwood Park School, re-imagining education, teaching academy, 

students work, art practice, art barn, OCR, Krishnamurti

Speculative Learning Environments
The Library
Re-Imagining Education
AS and A2 Student Exhibition in The Art Barn
Brockwood Park Schoo

Theatre for research, spatial practice, interior design, historic site, 

reading room, scriptorium, construction, making place, architectural model

Interior design project developed from the historical site of Waverley Abbey, Farnham, Surrey.
The Scriptorium was devised as an interior architectural intervention that explored the existential and the poetic.

Norwich and Norfolk Open Studio 2018, Harleston.

blueprints, alternative printing processes, cyanotype, 

field paintings, archaeological collage, bookworks

Cyanotype Paintings
Drawings
Collage
Artist Books

Spatial Mediators and Intercessors : Creating Loops/Rhetorical Silences/Strange Tools

Immaterial Architectures
Painting/Form for Reading Spaces/Intervals
Pattern and Chaos/Liminality/Tectonics
Architectural surface for a Library,  raw materials, light, silence and solitude.

Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

EVANESCENCE
Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

PROCESSION
Choreography of light/moving eye

VEILS OF GLASS
Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

ATOMIZATION
Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

CANALIZATION
Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

ATMOSPHERIC SILENCE
Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme. To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

LUMINESCENCE
Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.


White Noise : Nocturnes of Silence

Behind Appearance
A Study of the relations between painting and the natural sciences in this century
C. H. Waddington

Adam Fuss
Home and the World

Strange Loops
Art, Science and Consciousness
An Exploration of Mind, Matter and Form through the Work of Susan Derges
Stephen Gaughan

The Music of Waves
The Poetry of Particles
Thoughts on Implicate Order for Susan Derges
Martin Kemp

Adam Fuss
Eugenia Perry

Aesthetic Allure
Rhetorical Silences/Strange Tools

the sensual energy of the dimension in which causality/aesthetics happens

Graham Harman, Timothy Morton

Paintings/Research/Archive/Art Practice
Cyanotype material,objects on canvas.
Russell Moreton 2018

https://www.flickr.com/photos/russellmoreton/40286364403/in/dateposted-public/

Spaces/Aesthetics : 'Spatiality' between Objects, Concepts and Beings

In his discussion of mediators, Gilles Deleuze (1995,121) describes being taken up in the motion of a big wave. He notes that instead of looking for 'points of origin' attention should be directed to mediators that enable a 'putting-into-orbit' that facilitate the movement of concepts, sensations and matter without recourse to origins or destinations.

Katve-Kaisa Kontturi uses the term 'intercessor' instead of  'mediator' as it aligns better with Deleuze's argument, where importance is placed not on mediating between already formulated shapes or beings, but on opening beings up to movement through a third actant.
For Deleuze (1995,125), Intercessors are about entering into or creating a series.

Gilles Deleuze. 1995, Negotioations, 1972-1990.
Translated by Martin Joughin. New York: Columbia University Press.

Notes, Introduction
Ways of Following
Art, Materiality, Collaboration
Katve-Kaisa Kontturi

Open Humanities Press
London 2018



Immaterial Architectures : Raveningham Pavilion #1
DSC_3283 Raku Beakers : Lead Glaze/Yellow Ochre
DSC_4049 Field Aesthetic : Causality/Layered Drawings
DSC_3776 Sacred/Secular : Vessels on Painting
DSC_4097 Field Aesthetic : Causality/Layered Drawings
DSC_8923 Artists Studio : Collage/Photography/Painting

Outpost Studies
Norwich
UK

Astronomical Mappings/Hybrid Musical Sources : Amorphous Analogue Photography : Star Trails/Earth Objects

Amorphous Photography : Star Trails

Inscriptions of Birth/Becoming : Poetics of Memory


Side C
10. Sola Gratia (Part 2)- Jozef Van Wissem et SQURL

Spatial Abstractions : Photogram/Collage/Drawing/Mapping

Art practice/agents of a discursive social praxis : Building on Differentiated Data/Collage

Folder Cover, The Thinking Hand
TheThinking Hand: Existential and Embodied Wisdom in Architecture.

Juhani Pallasmaa

Frameworks with Enclosures

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'

Openings and Conclusions
Text Fragments

Aerial Imagery/Remote Sensing

Openings and Conclusions 3
https://www.flickr.com/photos/russellmoreton/14618816405/in/photostream/

Collage on paper,written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK.Visual research as part of The Waverley Project/Obscura and Reading Room.

On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual.

Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg

Working Drawings : Spatial Agency/refigurations on the everyday possibilities between movements and social space

The Making/Production of Space

We All Make Space/The Social Production of Possibility

Space and the Social becomes Spatial Agency (a continuity of action and occupation)

Life Drawings : The nature of minor everyday movements/narratives. Becoming responsive and flexible with materials to the dynamics of social structures/contexts. Drawings become reshaped as they are enacted through their working conditions and beyond (a here and an elsewhere, John Berger)

Drawing into the everyday, calling upon an anthropology of the here and now, so as to reveal the spatial and temporal inscriptions of present-day social practices. Marc Auge, Non-Spaces. 

Agency means being able to intervene in the world or to refrain from such intervention with the effect of influencing a specific process or state of affairs. Anthony Giddens/Jeremy Till.

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

 ‘Everyday life is lived in the medium of cultural form. Its phenomenological immediacy is the sedimented result of myriad repetitive practices, yet it is constantly open to the randomness of the chance occurrence, the unexpected encounter, the surprising event, as well as to the refiguration of its meanings by more explicit forms of social intervention.’ The everyday thus acknowledges the historical constitution of the now, but also its very incompleteness demands an active (political) response to what could happen, to the ‘social production of possibility’. It is through such temporalisation that one escapes a myopic entrapment in the present and moves into viewing the everyday as a site for transformative practice. 

Peter Osborne, The Politics of Time. Jeremy Till, Architecture in Space,Time.