Aesthetics and Subjectivity : Experiential Spaces/The feeling of what happens

Tides of Being/Becoming


Antonio Damasio
The Feeling of What Happens
Body, Emotion and the Making of Consciousness

Gaston Bachelard, The Poetics of Reverie.

Nick Cave, The Lyre of Orpheus.

Hildur Gudnadottir, Saman.

Architectural Light : Drawing into the photographic process

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.

Thomas Ruff

Found Objects : Archaeological Photogram

Drawings : Speculative Constructions in Photography

Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts.  As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same.  Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

Cell

Court

Domain

Drawing into the photographic process

Poche/Niche : The shaped presence between two surfaces/volumes

Reading Rooms : Waverley Project

Playing With Structural Modalities/Making/Tensions : Speculative Spatial Constructions.

 Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research.

https://www.flickr.com/photos/russellmoreton/24337820341/in/dateposted-public/

Poetics/Architecture : The scriptorium as an architectural surround.

5

Procedural Architecture

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 

From The Bookcase to The Field Table : Landing Sites of Inquiry

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Speculative architecture

On the aesthetics of Herzog and De Meuron

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called architecture, gardens, technology is not important. 

Kengo Kuma

Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses

Walter Pichler

Architect/Sculptor

The Thinking Hand 

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa

Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno

Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez

Materials and Meaning in Architecture 

Essays on the Bodily Experience of Buildings

Nathaniel Coleman

Matter and Desire

An Erotic Ecology

Andreas Weber

Visualizing Feeling

Affect and the feminine avant-garde

Susan Best

Making/Anthropology, Archaeology/Art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold

Thinking Through Craft

Glenn Adamson

The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre

A Hut Of One's Own

Ann Cline

Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association

The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor

Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys

Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner

Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge

Corpus

The Ground of the Image

Jean-Luc Nancy

Life Between Buildings/Parking Day Manifesto

Poststructuralism, a very short introduction

Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng

Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.

Heidegger for Architects/Emotions Building Presence 

Adam Sharr

The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne

Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials

Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye

Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143

 

Post Studio Practices : Mattering in Situated Places.

 Studio Apparatus/Scriptorium

Matter in Space : Passages in Sculpture.

The Sensing Of Spatial Agency.

Working Notes 2018/19

Curatorial Architectures/Assemblages

Speculative Spatial/Curatorial; Practices in Fine Art and Architectures

The Studio is no longer a retreat but it now integrates.

It is all exterior.

Ways of Curating, Hans Ulrich Obrist

Constructing active research material that becomes transactive through interventions and installations of display.

Blurring art and the everyday rituals of creative enterprise and survival.

Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.

Building Relationscapes

Movement, Art, Philosophy 

Sensorium

Embodied Experience

Technologies and Contemporary Art 

Erin Manning

Caroline A, Jones

Playing with INTERTEXTUALITY

Setting the Stage MAKE SPACE

Immersive

Alienated

Interrogative

Residue

Resistant

Adaptive

Interactive Workshop

Exhibition

Presentation

Open Texts

RESPONSIVE ENVIRONMENTS

ARCHITECTURE, ART and Design Interiors

URBAN FALLOW (10 Days in the Laundry)

THE CURSE OF THE CONTEMPORARY

OPERATIVE DESIGN

CONDITIONAL DESIGN

ON MAKING SPACE

THE FEELING OF WHAT HAPPENS

BODY, EMOTION and the Making of Consciousness

Art Practices : the chaos of subjectivity and the organization of self

DRAWING, line, shape, volume, light.

Studio Bookcases : Sociological Registers

Installation/Intervention of six research bookcase as diffractive elements in the studio space.

Thinking Things : The Archi-Textual Surface.

 

Rebecca Solnit explores Susan Bordo’s claim that ‘if the body is a metaphor for our locatedness in space and time and thus for the finitude of human perception and knowledge, then the post modern body is no body at all.’ Solnit comments on this post modern body that it is more of a passive object, appearing most often laid out upon an examining table or in bed. ‘A medical and sexual phenomenon, it is site of sensations, processes, and desires rather than a source of action and production, this body has nothing left but the erotic as a residue of what it means to be embodied. Which is not to disparage sex and the erotic as fascinating and profound, only to propose that they are so emphasised because other aspects of being embodied have atrophied for many people.’(Solnit, 2002)

We return back to the urgent need to make and experience things that in someway that lead us back to ourselves. The creative architectural work of Peter Zumthor is something that I am engaging with. He has developed architectural design practices that consider each project in terms of a comprehensive and encompassing sensory experience. He looks beyond the mere physical form and its fabric. He attempts to address issues of the body and how it may interact within a built environment. The use of memory as a spatial narrative to accompany the atmosphere of his spaces is realised through evocative material surfaces and densities. I feel that there is a synergy here between the opening up of the interior of a pot and the opening up of a space to dwell in.

In sensing a pots interior from its surface, we are as it were in some intimate tacit correspondence with its spatial sensing centre. We become known to it through its maker’s creative gesture of innerness. This anthropological inner space linking us to the potter is both sensual and distant; its vacancy allows us dwell in the maker’s absence. We become part of the vessel, we enter its philosophy of solitude.

Elective Affinities/Formal Structures and Sensual Properties.

 

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,

 

Thought In The Act : Learning through making.

 

Learning is better than teaching because it is more intensive : the more we teach/examine, the less the students can learn.

Learning and practicing techniques develops insight and dexterity, but not creative energies. Inventive construction and an attentiveness that leads to discoveries are developed, at least initially through experimentation that is undisturbed, independent, and thus without preconceptions. This experimentation is initially a playful tinkering with the material for its own sake. 

That is to say, through experimentation that is amateurish (ie not burdened by training).   

The Three Ecologies Institute

An Open Laboratory for Thinking in the Making

THOUGHT IN THE ACT

Passages in the ecology of experience

Erin Manning

Brian Massumi

Art as Experience : Interactions of Color/ Art as Experience, Josef Albers

GLASS-COLOUR-LIGHT-INTERIOR-LANDSCAPE

ART AS EXPERIENCE

WHAT IS THE CAPACITY OF THE MATERIAL

Josef Albers

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

Exploratory Practices : Archive/Collage/Mapping

Displayed Books

Part of Visiting The Archive/Waveney and Blyth Arts 2011-2018

Exploratory Workshop

Pipers Places, Richard Ingrams. John Piper. 1983

The Poetics of Space, Gaston Bachelard. 1964

The Fate of Place, A Philosophical History. Edward S. Casey. 1997

The Experience of Landscape, paintings,drawings and photographs, Arts Council. 1987

Archaeology, Mark Dion. 1999

Kate Whiteford, Land Drawings, Installations, Excavations. 2008

Psychogeography, Merlin Coverley. 2010

This Enchanted Isle, Peter Woodcock. 2000

The Rings of Saturn, W. G. Sebald. 1998

Land, Antony Gormley, Clare Richardson, Jeanette Winterson. 2016

The Wild Places, Robert Macfarlane. 2007

A Field Guide To Getting Lost, Rebecca Solnit. 2017

Contemporary Art And Anthropology, Arnd Schneider, Christopher Wright. 2006

Melancholy And The Landscape, Jacky Bowring. 2017

The Eroded Steps, Giuseppe Penone. 1989

Mapping It Out, Alternative Atlas of Contemporary Cartographies, Hans Ulrich Obrist. 2014

Strange Tools, Art and Human Nature, Alva Noe. 2015

Ways of Curating, Hans Ulrich Obrist. 2014

Wildwood, A Journey Through Trees, Roger Deakin. 2007

One Green Field, Edward Thomas. 2009

Claxton, Mark Cocker. 2015

The Abstracted Vessel, Ceramics in studio, John Houston. 1991

A Potter's Book, Bernard Leach. 1977

An Anthropology Of Landscape, Christopher Tilley, Kate Cameron-Daum. 2017

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