Elliptical Phenomena : Flux and Mutability

 David Sylvian & Holger Czukay: Plight & Premonition Flux & Mutability

Elliptical Phenomena

Ellipsis : Chantal Ackerman, Lili Dujourie, Francesca Woodman.

Lynne Cooke

Body, Personal Relations, and Spatial Values.

Composition, Concept, Object.

Space is an abstract term for a complex set of ideas.

The photogram is the immediate result of a constellation of light, three-dimensional object and photosensitive material.

Experimental Vision

FROM BEYOND VISION

Photograms

Flouris M. Neusus

Work in the light laboratory was a standard part of the curriculum.

The photogram became a functional element of a personal time curve, allowing the artist to continually endeavour to see or put phenomena into new relations. 

Moholy-Nagy and the Chicago Bauhaus

Thomas Barrow

THE COLOUR OF TIME

Garry Fabian Miller

The Majesty of Darkness

Adam Nicolson

The Unmade

The Pregnant

The Half Erotically Unmade

ADYNATA- Time's Colour, impossible Beauty

Marina Warner

TIME AND LIGHT

Nigel Warburton

TRACING LIGHT

David Alan Mellor

Garry Fabian Miller

Derrida

Blindness

Butades

Trace and Trait 

Karl Blossfeldt

WORKING COLLAGES

Experimental Vision : Research Collages/Ceramic Structures/Making Spaces

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

Brian Clarke : Lead Based Drawings

 Outpost 030522

Stained Glass

Painting

Appropriation

Collage

Using Lead As The Ground Of The Work

Don't Forget The Lamb, Brian Clarke. 2008

New Work : Lead Based Drawings

A lot of people are interested in skulls, but not nearly as much today as in the past. The skull is not only a memory of who we were but also an image of what we will be, I think it will probably engage artists as a subject for as long as art exists.

For me, as I've grow older, imagined truth is just as valid as factual accuracy.

But what really makes me feel isolated is that I don't know any artists today who truly understand what makes good architecture.

There are certain things you can say with stained glass that you cannot say with painting.

The black lead outline emphasize the colour. The minute you put a black line next to a colour the colour is intensified by a factor of three to four times.

You see stained glass by virtue of the passage of light through it, whereas you see a painting by the light reflected off it. So, in contrast to the static condition of a painting, a stained glass window is in a constant state of change as the day progresses, the clouds move, traffic or people pass by behind it.

The problem with works of stained glass is that they have too often been left in the hands of craftsmen who don't think like artists about how to enlarge the possibilities of the medium.

Up until the 60s and 70s lead was solely a structural element that held the pieces of glass together. It's formed as an H-section and because glass was so valuable a commodity, if a piece broke in putting the window together, that piece was then held together by tiny spider leads. This practical device intrigued me, I realized that lead had a potential outside its structural function. I've always drawn and realized that I could use the medium of lead without the line being hitched to its historical role.

There have been only two artists to whom I've felt really close. One was John Piper because he knew how to work with a building and the other is Johannes Schreiter, the German artist.

Study for Portrait of John Piper  2007  Oil on Canvas

Study for Portrait of Kenneth Clark  2008  Oil on Canvas

The Office for the Dead  2008  Lead and Stained Glass on Lead

Shopping List  2008  Lead and Gold on Lead

Don't Forget the Lamb  2008  Lead, Stained Glass and 'Oil on Canvas' on Lead

Lamina : Brian Clarke. 2005

I suppose I wanted to engage the same kind of disciplines that an architect has to deal with when he's building, because I feel what I do is so integrally married to architecture. In a way what I'm doing is coming as close as I can to creating my own architectural experience without the interference of an architect.

Astronomical archive : Entanglements of matter

Astronomical archive

Time based analogue photography

Entanglements of matter and meaning.

Karen Barad, Meeting The Universe Halfway, 2007.

Celestial Sphere/Scale/Intersection : Stars and Dust Particles. 

Astronomical archive

Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see.

Martin Amis, Night Train, 1997.

 

For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture.

Sylvere Lotringer, The Piracy of Art, 2008.

Collage : Self referential visual language

 

Project Prototyping : The Modulation of Translucency

 Outpost 290422

Mattering : Forming agencies with materials.

Building Embedded Knowledge.

Cognitive Modulation.

Transitions, Circulation, Feedback Loops.

The Project is The Prototype 

Proto-Typing for Architects, Mark Burry, Jane Burry, 2016.

The Disaster Area, J. G. Ballard.

Foster Associates, Glass ramp, Crescent Wing, Sainsbury Centre for Visual Arts, Norwich, 1988-91.

The Re-Enchantment of Architecture.

In today's architecture, opacity and depth is often replaced by the enmeshing and layering of translucent, [perforated and transparent surfaces. The currently popular application of screening veils on top of glass surfaces is clearly an attempt to reintroduce mystery, ambiguity, fragmentation, and a distinct tactile eroticism to all-glass facades. Even ornament and decoration have reappeared in entirely new forms, as images imprinted or engraved on sheets of glass.

Glass is, again, transforming into the ideal material for this new layered and eroticized hapticity.

The Modulation of Translucency

Simulacrum, Andreas Horlitz, 2006.

It is the selection of medium, the combination of mirrored and engraved glass mounted in a light box, that enables the viewer to grasp the complexity of the selected theme.

St Gobain, glass research at Aubervilliers of 300 tests to obtain a new substance from clear glass.

Glass is a material of the alchemist and the magician: while being nearly invisible, it isolates, separates and unites at the same time. Glass acquires cosmic and metaphysical qualities, the multiple, subtly changing visual character of glass adds to its fascination.

Transparency transforms into a reflection, immateriality into mass, light into darkness.

The Poetics of Glass/Immateriality and Transparency, 2003.

The result was a translucent non transparent glass, that let the light through but not the view: a glass that diffused the light not by reflecting it on its surface but from its very texture. This modulation of the translucency was the natural consequence of the uneven distribution of tiny bits of glass of different sizes, and of their partly “deglazing” during fusion.

Pierre Soulages decided to do without the edges that usually delineate the shapes of the windows, thus enhancing the pure and powerful architectural lines of the windows, and this move incidentally bridged his work to the early alabaster panels that were being used  for churches before the invention of stained glass. The cartoon work was started with the contribution of Jean-Dominique Fleury and Eric Savalli. A particular process was used: the lead work was marked with black adhesive tape of the same width, stretched over a white and smooth surface of the same dimensions as the window. As it could be removed many times, the tape permitted to elicit the right line by looking from a short distance.

Jean-Dominique Fleury remembers: Soulage's eye drawing from a distance, monitoring the line, the stretched tapes outlining the spaces, and the straight lines of the cartoon, adding blackness, thickness and graphical vigor. 

Building Durable

Robust Practice

Local Interactions

Making its way towards a definite geographical location.

No question of duration.

Lost all interest in the problem of how long.

Holding someone, some thing, an architecture by the hand.

 Outpost 220422

Immateriality and Transparency

The Poetics of Glass.

Architecture is fundamentally a haptic art-form and the atmosphere of alienation in today's architecture seems to arise from its exclusive visuality. We experience our being as an embodied haptic experience not as a retinal picture.

The multiple essences of the material, its simultaneous brittleness and malleability, hardness and fragility, immateriality and solidity, heaviness and weightlessness.

A work of art or architecture is not a symbol that represents or indirectly portrays something outside itself; it is an existential image or object that places itself directly in our experience.

In the basic alchemy of architecture there are only two fundamental categories of matter: opaque matter and transparent matter. One creates separation, privacy and shadow, the other provides connectedness, view and light.

The ultimate success of architecture will always be measured by its experiential qualities and its 

psychic impact.

We animate our buildings unconsciously; we encounter buildings the way we encounter creatures of the living world.

From Form to Matter.

Whereas Modernism was primarily concerned with form, structure and space, the past three decades of artistic work have introduced a deepened interest in matter and time; the depth, opacity, weight, patina and ageing of materials have emerged in all forms of art. 

This development has been equally clear in painting, sculpture and architecture. The Arte Povera Movement, the physical works of Richard Serra and Eduardo Chillida, as well as the material poetry and expressions of Jannis Kounellis and Anselm Kiefer all exemplify this new interest in materiality.

This shift results from a change in our attitudes towards place and time, signalling a new desire for  rootedness and perhaps, paradoxically of an acceptance of our own mortality. We need to feel enrooted in our world and to experience our belonging to a specific place and time. Enrootedness, rather than the ideal of abstract and placeless generality, makes the the thought of death tolerable.

Temporary Darkroom

Loading/Unloading Pinhole Camera.

Robert Macfarlane

Landmarks

To a three – or four-year-old, “landscape” is not backdrop or wallpaper, it is a medium, teeming with opportunity and volatile in its textures. Time if fluid and loopy, not made of increment or interval. Time can flow slow enough that a mess of green moss on the leg of a tree can be explored for an age, and fast enough that to run over leaves is to take off and fly.

What we bloodlessly call “place” is to young children a wild compound of dream, spell and substance: place is somewhere they are always in, never on.

Anna Shepherd's belief in bodily thinking gives The Living Mountain a contemporary relevance. We are increasingly separated from contact with nature. We have come to forget that our minds are shaped by the bodily experience of being in the world – its spaces, textures, sounds, smells and habits – as well as by genetic traits we inherit and ideologies we absorb.

The Living Mountain/Phenomenology of Perception.

For Merleau-Ponty, post-Cartesian philosophy had cleaved out a false divide between the body and the mind. Throughout his career he argued for the foundational role that sensory perception plays in our understanding of the world as well as in our reception of it. He argued that knowledge is “felt”: that our bodies think and know in ways that precede cognition. Consciousness, the human body and the phenomenal world are therefore inextricably intertwined. The body “incarnates” our subjectivity and we are thus, Merleau-Ponty proposed, “embedded” in the “flesh” of the world. He described this embodied experience as “knowledge in the hands”; our body “grips” the world for us and is “ our general medium for having a world”. And the material world itself is therefore not the unchanging object presented by the natural sciences, but instead endlessly relational.

We are co-natural with the world and it with us – but we only ever see it partially.

Architectures For Perception : Ceramic/Glass/Wood/Paper

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

Organising Structures : Socially Shared/Culturally Shaped

Organising Structures : Artist Notebook, Body/Landscape

Architectural Surface : Constructional Forms in Glass













https://www.flickr.com/photos/russellmoreton/24505820206/in/dateposted-public/

Experimental Vision : Alchemy and the experimental fields of photography

https://russellmoreton.tumblr.com/post/189388625662/experimental-vision-research-collage-1-by

Film Abstracts : The Ruins of Cinema

Heuristic Material : Collage

1. Encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.

2. Serving to indicate or point out; stimulating interest as a means of furthering investigation.

http://offscreen.com/view/personal_memory