Spatial Practice/Collage : Place Studies, Oxburgh Hall, Waverley Abbey.

Place Studies : Cyanotype and Weathered Stone

Working Title : Sensorium/The significance of the hut.

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.

 

"All religions, nearly all philosophies, and even a part of science testify to the unwearying heroic effort of mankind desperately denying its contingency."

 

Jacques Monod,

The Human/Straw Dogs, John Gray.

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 

Discursive photography and documentation.

Jana Sterbak

Remote Control 1989

<a href="http://art-history.concordia.ca/eea/artists/sterbak.html" rel="noreferrer nofollow">art-history.concordia.ca/eea/artists/sterbak.html</a>

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.

A Hut of One's Own, Ann Cline

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

Sensorium : A Partial Taxonomy, Caroline A. Jones.

Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006

Immersive
the "cave" paradigm, the virtual helmet, the black-box video, the earphone set

Alienated
taking technology and "making it strange," exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation

Interrogative
work that repurposes  or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems

Residual
work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one

Resistant
work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them

Adaptive
work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question

Discursive Drawing, Documents/Architectures of Entanglements : Enchantment/Somantic Affects/Assemblage and Texts

The dynamic, and hence temporal, nature of space means that spatial production must be understood as part of an evolving sequence, with no fixed start or finish, and that multiple actors contribute at various stages. Spatial Agency, Jeremy Till.

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

Exploratory, Textual Entanglements, Perceptual Relationships.

DSC_8759 Discursive Documents : Enchantment/Somantic Affects, Jane Bennett Assemblage : Aesthetic Convergence Cultivation Field/Vibrant Matter Becoming complicit with materials Realist Magic, Objects, Ontology, Causality. Timothy Morton. 2013 Matter and Desire, an erotic ecology. Andreas Weber. 2017 Vibrant Matter, a political ecology of things. Jane Bennett. 2010 Therese Oulton Paintings and new digital prints Lines of Flight. 2006 Being Alive Essays on Movement, Knowledge and Description Tim Ingold. 2011 MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION MATERIALS THEMSELVES become the TOOLS of PERCEPTION Enchantment from the potential of things. The Fabric of thoughts The invisible within the visible (energy,magic,causality) RELATEDNESS, connected to the Place and Function of Things within a Field. Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant. We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships. EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler The World is a Collage Collage and montage are quintessential techniques in modern and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble. Juhani Pallasmaa Hapticity and Time Notes on a fragile Architecture The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold See Yourself Sensing Redefining Human Perception Madeline Schwartzman STILLNESS IN A MOBILE WORLD Bissell, Fuller

Spatial Agency : Lefebvre's redefinition of space

Its production is a shared enterprise.

Social space is dynamic space; its production continues over time and is not fixed to a single moment of completion. This dynamic inevitably shifts the focus of spatial attention away from the static objects of display that constitute the foreground of so much architectural production, and moves it onto the continuous cycle of spatial production, and to all the people and processes that go into it.

Social space is intractably political space, in so much as people live out their lives in this space, and so one has to be continuously alert to the effects of that space on those lives. 

Spatial Agency, Other ways of Doing Architecture, Jeremy Till

Woven Gridshell and Wayfaring : Visual Environs/Emergent Landscapes/Lines

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/Light Drawing

'Ma' The space,expanse and distance between objects/events and time that can create 'boundararies for nothingness/energy'

Covehithe

Walberswick : Woven Paths/Digital Pinhole. 2016

Gridshell Building, Singleton, West Sussex

Weald and Downland Open Air Museum

Making ; Tim Ingold

Anthropology, Archaeology , Art and Architecture.

Knowing is 'understanding in practice' made from lines of active engagement with the material world.

Wayfaring : Emergent Landscapes 

 

In and Out of Material : On the experiential level of life, Tony Cragg.

Tony Cragg

IN AND OUT OF MATERIAL

Demonstration

Tony Cragg : I basically mean the effectiveness of the object, of the material. But because the metaphysical and physical association are already occupied, I'm interested in somehow establishing some relationship with the materials and the things around me without using any preconceived notions of an already occupied language. It is a bit like taking away a Christian name and depersonalising something. What I mean is that it's an attempt on my side to restart the relationship with the material, which I think sculptors have to do anyway.

Jon Wood : Thinking of the increased awareness that this side of your work tries to capture and harness in the viewer, can you say a bit about the kind of sensitivities that you would like to be heightened? What would you see your work as demonstrations of and for? Your sculptures are triggers for what kind of thinking?

Tony Cragg : Well there is an attitude to looking at things and to looking at objects and materials which is based on a meditative tradition of contemplation : the universe in a grain of sand idea, or maybe even religious ideas where you actually get in contact on some level with the material world, on a deeper level than the one you obviously are capable of reaching in an everyday situation, so on an extraordinary level, outside of your own experiences.

I am not saying that that's not interesting or important. But I also think that this leaves the battleground for the everyday life to be governed by non-contemplative thought and non-meditative thought. And this may sound like a mixture of terms, but I think that there is a job to be done even on an everyday, “second for second” level of life—on the experiential level of life. I think there is a job to be done here improving the quality of contemplation about an awareness of the material world—the material world seen as an immediate extension of the communal social effort, the cultural effort that you are part of.

Jon Wood : How does it move from being an individual contemplative experience to being one that has a communal relevance?

Tony Cragg : In the main part it only has communal relevance. All you can do for yourself is formulate your sentences, cook yourself a meal that suits you, get dressed in a fashion that suits you, and everything else you have to put up with as having been made by other people for you. But obviously, even if they didn't ask your permission, there's something consensual about that, isn't there? Even though you don't like it, it doesn't look like you're making an effort to change it. And maybe there's some active thing there. My idea is that even if I don't like it, I wouldn't be able to change a great deal of it, but I could sow the seed for some change in the direction that I would feel would be important. It's a measure of how much responsibility one takes for the change. Looking for more in the visual world around me and looking for more language, in a sense, is one way of heightening sensibilities and expanding a vocabulary and then expanding the responses to a vocabulary is a way of heightening sensibilities. I'm not a politician, but I think we still live in a world that is greatly dominated by mesmerism and mystical models, which are very distracting because they actually stop us from really trying to face reality.

Postmodern : Contested Landscapes for Melancholy

Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,

"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity
is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin
with the same concept,
they do not have the same concept of beginning...
Every concept has an irregular
contour defined by the sum of its components,
which is why,
from Plato to Bergson,
we find
the idea of the concept being a
matter of articulation,
of cutting and
cross-cutting.
The concept is a whole because it totalizes
its components, but it is
a fragmentary whole.
Only on this condition can it escape the
mental chaos
constantly threatening it, stalking it, trying to reabsorb it."

Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.

Melancholy And The Landscape
Locating Sadness, Memory And Reflection In The Landscape
Jacky Bowrin

Path : Analogue Film Process
St Catherine's Hill, Winchester

Anthrocene : Nick Cave and the Bad Seeds, Skeleton Tree.
Walberswick :  Beach Slides/Digital Pinhole

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape
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.”

Landscape : Entanglements of Affect

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

Landscapes : entering/intruding/emerging
Pinhole Photography (Holga)

Landscape : Entanglements of Affect/Aesthetics

Nihilistic Aesthetic :  Bleached Cyanotype

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

The Drowned World, JG Ballard : Architecting the visionary present

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

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.

Stained Glass/Cyanotype/Ceramics