Patti Smith & her Band full concert June 9, 2022 Junge Garde 4k black ...

Jefferson Airplane - White Rabbit (Grace Slick, Woodstock, aug 17 1969)

Construction/Spatial Agency : A Visual Dwelling Space around Building

CRAFTSMANSHIP AND THE PHENOMENOLOGY OF CONSTRUCTION ON CREATIVITY

On Craftsmanship, towards a new Bauhaus, Christopher Frayling. 2011

The Craftsman, Richard Sennett.2008

Caruso St John: The Phenomenology of Construction, Eric Lapierre.2006

Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.

Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences, of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction. When this formal language ceases to be novel, a building becomes part of a more normative condition, the condition of not ‘being new’ and its qualities increasingly emerge from the more long-standing and stable world of construction.

Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002

Waverley Abbey. Cistercian Monastery

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre-spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 

KIEFER AND CHIPPERFIELD TALK SPACE AND CREATIVITY

Discussion between the artist Anselm Kiefer and architect David Chipperfield.

Beginning with Kiefer’s extraordinary studio complexes in Germany and France, the discussion roamed over questions of materiality, the nature and feel of spaces, scale, history and the ruin. Kiefer continues to discuss the ways he has shaped his three successive studios, and their landscapes both as a place and as a place in which to work.

DAVID HILLS OF DSDHA DISCUSSES THE NEW STUDIO SPACE OF EDMUND DE WAAL.

British firm DSDHA has created a second new studio and gallery for ceramic artist Edmund de Waal within the shell of a converted munitions warehouse in south London.

(Royal Academy of Arts)

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

 Andover Installation : October at the Chapel.

Gridshell
Weald and Downland Open Air Museum

Drawing, tissue paper, tape, body outline with astronomical data on paper.

Markings over Layered Drawings #1

Template and Form 2010. The Yard,Winchester.

Pastoral Space: Material, Inquiry and Craft.#2
Drawing intervention and speculative sculptural environment.

Body Outline with Stones and Threads : Mapping.

PB145023a : Mapping. Human Filament

Reverberations from excavated land #5

Speculative vocational processes #8
http://cargocollective.com/russellmoreton/To-consider-time-as-an-entity-we

Hidden Curriculum #1
a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State

War Machine

Plastic Horizons/Strange Attractors/Affective Abstractions

 Outpost 010722

Intermediaries/Exploratory Realities.

Constructs/Apparatuses.

Elastic Horizons/Schisms

Space-Time Manifolds

Heuristic Devices/Poetic Ideas

Strange Attractors/Drawings/Diagrams

Architectures that embody philosophy, through limited concepts that work with the contingent and the uncertain.

Light has a new prolific dimension today as a means of measurement and communication.

Light that is not seen with the eyes can be felt. 

Light's psychological effects can lead to extremes of feeling with direct repercussions.

The revelations of new spaces, like interwoven languages, dissolve and reappear in light. In magnificent spaces, light changes and appears to describe form. 

An eclipse of white clarity suddenly gives way to a pulse with colour; light is contingent, its shadows intermittent.

In the mist of the metropolis at night, space dissolves before our eyes, only to take shape again within seconds. 

The spatial depth of the urban field cannot be objectified precisely. In its pulse the polarised position of our body and its perceptions are upset.

If we explore spatial depth, then we can consider how objects appear correct or inverted. During our thought-experiments regarding space, especially space beyond the earthbound (Event Horizon, black hole) we accept new spatial levels and by the force of our imaginations, alter the known spatial levels of previous human existence.

Horizon with aurora borealis.

A horizon is not only an optical condition but also a spinning moment in space-time.

In this sense, the earth is not the ground. 

As things continue to float, they spin and accelerate creating subtle centrifugal forces.

We are organic beings.

All of our objective relations begin from the inside out.

We  must form an extended comprehension of space and time at the scale of astronomical events while not losing the perspective of the microscopic.

Parallax, Steven Holl.

Prototyping For Architects, Mark Burry, Jane Burry.

Why it does not have to be in focus, Jackie Higgins.

Studio Painting/Constituent Parts.

Matter and Affect

Presence and Mutability

Affective Abstractions

Robert Ryman

Shifting perceptions into immersions within a sensate world.

Japanese Minimalism

Exploratory Diagrams

Spatial Forms/Horizons 

Building as a body, a battleground of invisible forces. The spine is the central elevator. 

The structure is a tube of concrete covered with insulation and tarred black wood boards.

Knut Hamsun Museum, Hamaroy, Norway.

Works on Paper and Cloth, visible fixings, securely situated to the wall space.

Architectural Panels/Painting Surfaces.

Soundproofing social noise

The solitary artist literally at the edge of his environment, in a state of profound meditation about our place in the wider cosmos.

We are no longer on the outside as an objective, dispassionate observer, but are now part of the journey and perhaps more subtly part of a ceaseless life-giving cycle.

When we are at the beginning of a journey we, like Odysseus, contemplate a character (or concept) that does not yet exist. Absence and loss precede the appearance of an abstract driving force.

Chaos, confusion, and implosion of information bound up in rules, constraints, and limited means precede every architectural challenge. Once the imagined concept takes hold, its correctness is tested in the way it can work in different modes, from program to light, to space and to material.

The journey from the abstract to the concrete is a metamorphosis from a poetic idea with an exploratory diagram, a coherent purpose to form.

Mattering/Metaphor

Dartmoor/Water

Stream of thought, cascades of neural activity in your mind.

Imprints of the natural environment, explorations of matter and light, self and other.

Works that seem caught between this world and evoking a place that is otherworldly.

She works outdoors using the nocturnal landscape as a darkroom.

On The Presentness Of Photography, Craigie Horsfield.

For Horsfield, by separating the act of taking the image from that of printing it, he believes he draws attention to the 'pastness' of the photograph, which is what the picture depicts, its subject and what he calls the 'presentness' which is how the photograph exists through its surface, its matter, and the physical object.

The instant of the moment is also a past reality.

Slow History/Slow Time on the presentness of things and their complicated relationships to time.

Tactile Light/Casting Images.

Pliny/Butades, tracing an outline of a shadow onto a wall.

Christopher Bucklow has devised a process to depict figures composed of myriad pinhole photographs of the sun. He dispenses with the negative by casting images directly into photograms.

She, is rendered not as a shadow but manifested as a radiant, luminous being. 

They flesh themselves in the astral remnants of dilated starlight.

Skin

Surface

Subjectivity 

The composed image is given an apparent physicality, its surface should be constituted by and of  place and time, it should be vulnerable, porous to impressions like skin.

Physical Forms

Landscape

Free Movement

Cone of Vision/Refraction Diagram

Parallax

Elastic Horizons

Science remains essentially mysterious, yet our daily scientific and phenomenal experiences shape our lives; experience sets a new frame from which we interpret what we perceive.

Vessels/Thresholds/Circulating Objects : An object becomes the threshold for thinking feeling.

An object becomes the threshold for thinking feeling.

We perceive-with objects catching the edges of their contours, participating in the relations they call forth.

Relationscapes/Erin Manning.

Cyanotype/Artist's Book, Paul Soldner pot with astronomical data.

Postcard/Star Atlas :  Cyanotype (used as index for recorded disc)

Verso

 

A for Andromeda, BBC4 27.03.06 90 minutes

 

1973 Romantic Poets

 

Disc Full

Reading Project/Emergent Evolutions/Small Perceptions : Waverley Abbey/Architectural Body

Relationscapes : Erin Manning.

Perceptions in Folding.

Contrast is the activity of foregrounding or backgrounding that makes certain qualities stand out, creating what Whitehead calls emergent evolutions.

Contrast in Whitehead does not mean the equal juxtaposition of two extremes. It is 'that particularity of conjoint unity that arises from the realized togetherness of eternal objects' (Whitehead 1929/1978, 229).

Emergent evolutions are the individuation of relational fields composed by the activity of small perceptions folding.

Small perceptions are like what Arakawa and Madeline Gins call imaginary landing sites.

Small perceptions are as much the passage from one perception to another as they are components of each perception.

Deleuze.

Assemblages/Architectural Prototyping : Formative Ideas.

 Outpost 220922

Architectural Prototyping.

Formative Ideas.

Setting things adrift in the direction of other assemblages.

The Refrain. 

Deleuze and Guattari.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound, a moment of pure presence.

The Wonder of Minor Experiences.

Jane Bennett.

Enchantment requires active engagement with objects of sensuous experience, it is a state of interactive fascination.

Capacitive Environments, a building that seeks to both communicate with its users and provide a spectacle for onlookers.

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

Constructional mock-ups used to determine the optimal installation of the ETFE cushions both to the substructure and between adjacent frames.

Asif Khan. Beatbox Pavilion, London 2012 Summer Olympics.

The Blueprint : Map 2, creative designations. 

Mapping hidden spaces between precision and indeterminacy.

Spatial Agency/Issues of Relational Spaces.

Collage/Cognitive Mappings.

Discursive spaces between agencies/representations.

The Stride of The Mind, Patti Smith.

Formal qualities/events between materials

Remote Sensing : Anthropology, Natural History, River and Abbey.

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

Oculus/Vessel : A Living Circle/Stilled Space/Mined

Thirty spokes unite at the wheel's hub
It is the centre hole that makes it useful

Shape clay into a vessel
It is space within that makes it useful

Cut out the doors and windows for a room
It is the holes which make it useful

Therefore profit comes from what is there
Usefulness from what is not there

Lao Tzu, Tao Te Ching XI

The Way Of Raku
Pottery and Writings
Christa-Maria Herrmann

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