Researching Bodies/Discursive Collages : Theoretical Objects/Desiring Machines/Diversions/Anomalies/Contradictions

 

OUTPOST STUDIO 3.16

Sensations in Space and Time (the experience/entanglement of phenomena and idea)

Agency/Foraging/Making/Gathering

Subjectivity is relational (always in process)

A Species of Making Spaces

Tentativeness, attentive to situatedness

A diffractive methodology enables a critical rethinking of science and the social in their relationality, moving beyond separate entities, separate sets of concern.

Karen Barad

Organism

Person

Environment

For Merleau-Ponty, Experience can only be understood between the mind and the body or across them in their lived conjunction.

The mind is always embodied, always based on corporeal and sensory relations.

Elizabeth Grosz.

Richard Serra : Verb List Compilation

Actions to Relate to Oneself, 1967-1967

Drawing in its frameworks and dimensions/presence and absence/its here and elsewhere

Exploring the fragility of a painting in the landscape

Canvas as sheltering construction, Raveningham Sculpture Trail

Diagram-Map-Chart, is a symbolic depiction emphasizing (mapping) relationships

Diagrams For The Imagination : Arakawa

Semper Femina : Laura Marling

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Litany Of Echoes : James Blackshaw

New Music, for old instruments : Paul Metzger, Jozef Van Wissem

Brilliant Trees : David Sylvian

Body As Cultural Product

Both psychic and social dimensions must find their place in reconceptualizing the body, not in opposition to each other, but as necessarily interactive.

Volatile Bodies/Chaos-Territory-Art : Elizabeth Grosz

Spatial Asperity/Mesh, Membrane and Gauze, Möbius Strip, Pattening,

Actuality : Robert Mangold

Paintings around the particles/flows of things/boundaries/intervals of presence and absence

Induction/Capacitance/Encapsulated Layers

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading/Matter/Rooms,

The Lake of The Mind

Stochastic Thinking, Steven Holl

Solitude/Libraries : Cell/Court/Domain

Capacitance, relationships between intensities and movements

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Flesh, elementary pre-communicative, subject and object develop.

Making as Growth : Tim Ingold

Social Architectures/Anthropologies/Imaginary Projects/Interfaces/Screens

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Paintings/Enactments : Canvas as a spatial verb

Espace-Milieu, painting as environment/entanglements and situations

Ceramic/Process and its theoretical objects

As a series of practices, making reality by bringing things together or separating them into their singularities, or making machines/desiring machines

Desire can be seen as an Actualization

Gathering Notations : Bernard Tschumi

Both presence and absence are coupled in this framework

Deleuze/Guattari

Glass/GLAS : Resistivity/Inclusions, A Field in England.

Translucent aesthetics, beyond the opacities of the sensible the rational.

An image that adequately expresses both the efficacy and the temporariness of the phenomena ( joining a diffused/invisible flow of energy, a breadth that wends its way ceaselessly through the world). Animating it as it goes.

Vital Nourishment, Departing from happiness, Francois Jullian.

What is a body capable of -

Spinoza

Building/Making, into the theoretical performative object (that does theory)

Albers/Clarke : Interactions, Counterpoints, Intervals between colour/forms,

Membrane, Discursive, Diffractive, Sensory, Layered and Filtered Light,

Body, Movement, Mind, Assemblages, Exploratory, Speculative, Choreographic,

Deleuze/Guattari, understand the body more in terms of what AFFECTS it is capable of, instead of the consequences of having a body.

Peter Zumthor : Thermal Baths

Human Agency/Temporal transitions between matter and movement.

Immaterial/Concrete/Water : Bodies in contact/the corporeal social human body

Manifolds/Theory of Temporality/3 Synthesis of Time

Memory Past Preserved Condition

Present Habit Instants Agent

New Future, actual/virtual Creation of The New

Multiplicity, purality of contemplating souls.

Asymmetries between particular past and general future.

Temporality involves multiple interacting processes.

Architecture becomes Spatial Agency

We all make space : Jeremy Till

Paintings, space, volume, surface, passages, actualizations, claddings/camouflage

One conceives and reads a building in terms of sequences, both phenomenological and filmic, reading a space by its depth of field, its thickness.

Turbulence House, New Mexico, Steven Holl.

Aesthetics/Asperities : Resultants that incorporate the friction (asperity) of their trajectories through a medium. Tilt-up concrete construction, Chapel of St, Ignatius, Seattle. Steven Holl.

Navigations and Vectors/conduits/intervals and traces between discursive practices.

Wrapped Silences : Assembled Sectional Elements/Thresholds

Surfaces on Mourning/Samsara, a beauty fed on emptiness

Oscar Tuazon “See Through” : Working with Disjunction/Spatial Forms/Windows/Spatial Collages

Oscar Tuazon “See Through”

Galerie Eva Presenhuber is pleased to present “See Through,” the gallery’s third solo-exhibition featuring new works by the Los Angeles-based artist Oscar Tuazon.

Oscar Tuazon‘s sculptural oeuvre is situated at the border of art, architecture and technology. His large-scale works – shown in exhibition spaces as well as public space and nature – often seem like functional do-it-yourself structures which were once inhabited or will be made inhabitable soon. In terms of form, Tuazon is close to artists of Minimalism and Land Art, such as Donald Judd or Carl Andre. He goes so far as to copy single works of artists like Richard Serra, but without the ironical distance that characterizes appropriation. The process of copying is rather to be understood as a re-building that reduces the work to its sheer material and potential. Furthermore, Tuazon doesn’t focus on the relation between work and architectural space, but on material, the process of building, and the physical agency of the work itself. Often, the collective process of constructing his large-scale sculptures could be seen as a performance which naturally takes place before the actual work is realized.

In “See Through,” Tuazon borrows a form which condenses various concepts explored in his previous work: the window. He installs massive wooden frames made of spruce, cedar, and plywood, that stand in the middle of the gallery space or directly against the wall. At first glance the sculptures seem minimalistic: geometrical frames that define and order space, and at the same time evoke, like Fred Sandbacks sculptures, larger structures. However, Tuazon transcends minimalism: his windows consist of two parts. One part is transparent with a pane of glass built into it, while the other part is crossed by three wooden bars which belong to the wall of a house. These objects, quite clearly, have a certain function. They are windows that separate inside from outside and, at the same time, are transparent. The title gives account to this main feature of windows. But contrary to minimalist sculptures, which put the focus on the surrounding architecture, Tuazon‘s windows exist as architectural elements themselves– constructed by the artist in the studio.

In the exhibition space, the windows are fundamentally alienated in several ways. First, they are not part of a house. Second, their layout creates doubt about their ability to separate inside and outside – to be tight. Furthermore, they don’t allow to look outside anyway: They are positioned either in the middle of the gallery or on the wall. In their quasi-functionality, they go beyond the way of perceiving space expressed by minimalist artists.

Tuazon’s sculptures are easy to grasp, but it’s difficult to spell out their complexity. As windows, their basic function is to disappear. They should be transparent. At the same time, they are displaced, don’t quite work the way they are supposed to, and so are alienated from their usual function. Ultimately, Tuazon’s objects create their own space, which is not equivalent with the surrounding gallery space. What happens within this new space expands the space itself: What happens between the objects and their perception is left to the exhibition visitors – and even that can’t always be controlled individually.

at Galerie Eva Presenhuber, Zurich

The Living Thing : Hidden Curriculum (Intermezzo)

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

ASSEMBLAGE:

An assemblage is any number of "things" or pieces of "things" gathered into a single context. An assemblage can bring about any number of "effects"—aesthetic, machinic, productive, destructive, consumptive, informatic, etc. Deleuze and Guattari's discussion of the book provides a number of insights into this loosely defined term:

In a book, as in all things, there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or, on the contrary, of acceleration and rupture. All this, lines and measurable speeds constitutes an assemblage. A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity—but we don't know yet what the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of the substantive. On side of a machinic assemblage faces the strata, which doubtless make it a kind of organism, or signifying totality, or determination attributable to a subject; it also has a side facing a body without organs, which is continually dismantling the organism, causing asignifying particles or pure intensities or circulate, and attributing to itself subjects what it leaves with nothing more than a name as the trace of an intensity... Literature is an assemblage. It has nothing to do with ideology. There is no ideology and never has been. (3-4)
The book, as described above, is a jumbling together of discrete parts or pieces that is capable of producing any number effects, rather than a tightly organized and coherent whole producing one dominant reading.
The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

http://www.rhizomes.net/issue5/poke/glossary.html



Speculative Learning Environment : Russell Moreton.

Re- Imagining Education, Brockwood Park School.

2011.

Spatial Representation/Practice : Discursive photography and documentation

 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

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

Red is not a colour/Filtered Light/Program/Tschumi/Sainsbury Centre.

 RODIN AND BEUYS

THE ALCHEMY OF BUILDING WORKING PRACTICES

RUINS, REDUCTIONS, and the LOSS of SUBSTANCE.

FRAGMENTS, ASSEMBLAGES and INTERIORS that re-enter the world of creativity.

The Theatre of Research is a working space that creates and crafts both theoretical and practical objects, things and documentation. Its reason for being is to explore the praxis for creative narratives between the Arts and The Humanities. It attempts through performance, fine art and architecture to collage qualitative and diffractive dialogues into new relational discourses, the results of which become exhibited or staged as open workshops engendering praxis, publication and production. In its fledgling state it is seen as being part of a University faculty that has interests in the Arts and The Humanities.

We have art so that we may not perish by the truth. Friedrich Nietzsche Can one achieve architecture without resorting to ‘design’? What if, instead of designing a new building, you keep the one skated for demolition? How do you insert an original program inside the old and new structures simultaneously? How do you reconcile coherence with multiplicity? Bernard Tschumi 2012

 PROGRAM. Tschumi, Le Fresnoy: Architecture In/Between, 1999/2012 Architecture was no longer an autonomous and isolated discipline but participated in the movement and confrontation of ideas. Tschumi, Red Is Not A Color. 2012

Collage/Abstraction/Assemblage/Beyond Discourse : Architectural Plan/ Library/Victorian Corset/Blueprint/Spatial Frame

Postmodernity is no more than 'modernity' without illusions

Zygmunt Bauman

We are less interested in whether we are living in a critical or post-critical era, because these terms circle round each other. Indeed, it is the fate of all 'post' terms (postmodern, post-critical, post-theoretical) that they never escape the hold of the condition that they would wish to succeed.

On Discourse

From a sociological point of view, discourse includes all that a particular category of agents say (or write) in a specific capacity and in a definable thematic area. Discourse commonly invites dialogue, but discourse is not open to everyone, but based on social appropriation and a principle of exclusion.

Beyond Discourse : Notes on Spatial Agency. Tatjana Schneider and Jeremy Till.

Blueprint, Photogram and Collage

Collage : Diversions/Contradictions/Anomalies

Collage and Architecture

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

a thousand plateaus
Deleuze, Guattari

http://www.rhizomes.net/issue5/poke/glossary.html

Assemblage

The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.


Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

Camera Obscura : Reflections and the dark room.

The Library : A Meditation on the Human Condition (Giacometti, artist-philosopher)

Books can step up to us- into us- in many ways.
Voices from Chernobyl by Svetlana Alexievich was for me that rare precipitate force which calls another book into being.

Mario Petrucci, Heavy Water, a poem for Chernobyl.

Paths and Boundaries : Stonehenge

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.

Footnote

Critical Modernism, where is post-modernism going?
The Garden of  Cosmic Speculation
Charles Jencks

Radical Perspectives : Sky Watching /Outpost Studio Space

 Outpost 070922

Radical Perspectives.

Space-time Manifolds.

Intertwined cinemas within a bottle of light.

Fissure space reflection on underside of suspended cinemas.

Concept Studies/Diagrams.

Space was perceived by the body moving through time.

Parallax, Steven Holl.

Plastic Media

Performative Apparatuses.

The Observer and The Observed.

A return via the time exposures to the unexpected and a intricate order made up of  patterns, movements and constellations.

New thrilling metaphorical structures.

Beyond the purely visual, to get a flat surface to interact with physical phenomena, which would be recorded without any intervention or involvement. Photographic events in which some images recorded very determined fixed forms, and in other time-exposures the images became more about traces and about movement.

Susan Derges.

Infra-ordinary

Dust Breeding.

Giacometti's Cell/Studio.

A Species of Spaces.

Intra-acting

Contemporary Architectural Practices.

Spatial Practices/Visual Fine Art.

Quantum Superposition.

At the moment a measurement is made in Beijing, everything remains in quantum superposition with respect to Vienna. The equipment making the measurements, the scientists reading them, the notebooks in which they are written down, the messages in which the results of the measurements are conveyed, are all quantum objects themselves. 

Helgoland,Carlo Rovelli.

Quantum intra-acting

The concretization of  colour as substance/matter/movement/agency.

Beuy's brown and Klein's blue form a pair of opposites, according to the hermetic-alchemical world view, such opposites contain the arcane power of polar dissimilarity that seeks to be augmented and joined together.

Beuys Brown and Klein Blue, Magdalena Broska.

Elective Affinities

Susan Derges/Garry Fabian Miller.

The direct use of physical materials, the interest in systematic experimentation and a preoccupation with the fluctuating perception of events depending on the position of the observer and the nature of the light.

Through the realm of perceptual experiences.

Both art and science alter our perceptions and knowledge, whether from philosophy, science or the arts it filters down into our general awareness to affect our world view.

Wondrous essences put back into existence, through re-achieving a direct and primitive contact with the world.

Plastic media, time based immateriality.

Surface interactions produced from physical phenomena made visible.

Metaphors for phenomena

Patterns as either/both particles and waves.

Unknowing Expectation.

Prints of a scientific exactness.

This reduction of process down to such a simple method.

He felt amazed by the clarity of the procedure, it seemed incredibly releasing and radical, and something to aspire to.

Working series that focusses on the immense through engagement with the specific. 

Homeland, the body gains access to the world as a way of living and working.

Making a garden after the making of the mornings pictures, feels like the right way to fill the hours which remain in the day.

Field Studies/Kilquhanity.

Building template for positioning of circulatory pathways.

Garden drawings and sculptural mappings of the passage of sunlight.

Shifting relationships of the real world have been assimilated into her imagery.

In particular her world view was affected by the ideas of contemporary physicists.

New possibilities for plastic media has been that phenomena are no longer seen as static entities in space and time, but as dynamic and interrelated with specific structured laws and principles.

The Darkroom as cell and workroom, a room apart from the world.

Science, Order and Creativity.

David Bohm.

The Implied Observer

Towards an understanding of how matter comes to matter.

Performativity is precisely a contestation of the excessive power granted to language to determine what is real, performativity is actually a contestation of the unexamined habits of mind that grant language and other forms of representation more power in determining our ontologies than they deserve.

Thingification, the turning of relations into things, entities, relata, which infects much of the way we understand the world and our relationship to it.

In Posthumanist Performativity, Karen Barad advocates agential realism as an alternative to representationist ontologies that split semiotic from material reality.

Barad argues that matter is not a substance but an intra-activity, and that agency is not an exclusively human attribute, but rather the enactment of iterative changes across macro/microscopic levels of matter.

Matter is performative in that it reproduces itself through the effects of its own intra-active dynamic material relationships. Relata do not pre-exist these relationships, but emerge through them in the fluid, diffractive boundaries that crystalize phenomenon/matter into things/thingification that are positioned in a spatial-temporal affective relation.

The subject/object dichotomy is performatively enacted through the specific spatial temporal proximity between the two necessary for apprehension, in which the approximal relationship through which subject and object emerge. The cognitive split that constitues the I is a discursive practice called the agential cut which is a conception of separability between one thing and another that grants the illusion of agency.

For Barad, discursive practices are not only linguistic expressions of human language, but extend to other material specific practices of intra-action entangled with other intra-actions that produce material phenomena. The material apparati which constrain, but do not over determine these practices find within their own diffractive limits possible dynamic reconfigurations of the world.

Because being is not a static relationality but a doing, that always entails constituting exclusions, a posthumanist engagement with performative matter must not only account for the sites of human/non human cuts, but also challenge the ethical stakes of such cuts.

Summary Notes : Karen Barad, Posthuman Performativity, S.A. Colclough.

Intra-actions produce material phenomenon.

Palimpsest/Architectural Models/Formworks : Installation/Ceramic Forms/Sketchbooks

 

 

Painting Canvas/Formwork 3mx3m : Shelter/Sensing Place/Painting in the Landscape

FABRIC DEVELOPMENTS = MASS + FORM

Collected Notes : Raveningham Sculpture Trail 2020

Studio Blackboard

ODYSSEY  Aesthetic Intervals/Timbre/Traces  

https://www.axisweb.org/p/russellmoreton/

Raveningham Architectural Canvas/Form

 

Framed-Un-Framed Construction Sensing/Site  2020

Aesthetics between objects

Fragments from note books

Art Works, a constellation of coincidences/intuitions resting the not being made

Re-animating context

Aesthetic perception, how aesthetics are represented in a object by philosophers and scientists  

Espace-Milieu : Painting as environment entanglements

Painting in a landscape situation.

Canvas as spatial phenomena, reading both sides.

Asymmetries between a particular past and a general future

The passing of the present through the pure past

Difference and Repetition : Production/Synthesis of Temporality

Art Practice/Gathered from Everyday Life : Micropolitics of slowness and repetition.

The Living Present, constructed from habits, anticipations and recurrences

Chaos, territory, art 

Deleuze and the framing of the earth

Elizabeth Grosz

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces

Construction/Making/Collage  

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles, Wood, Lead, Nails

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things

03/05/2021

Violence of Architecture : Bodies Violating Space/Space Violating Bodies.

 Outpost 170823

The Movement of Bodies in the Space of Architecture.

White Cubes/Art Museums/Architectures of  Ritualized Display.

Violence of Architecture.

Bodies Violating Space/Space Violating Bodies.

Any relationship between a building and its users is one of violence, for any use means the intrusion  of a human body into a given space, the intrusion of one order into another. This intrusion is inherent in the idea of architecture; any reduction of architecture to its spaces at the expense of its events is as simplistic as the reduction of architecture to its facades.

By 'violence,' I do not mean the brutality that destroys physical or emotional integrity but a metaphor for the intensity of a relationship between individuals and their surrounding spaces.

Bodies carve all sorts of new and unexpected spaces, through fluid or erratic motions. Architecture, then, is only an organism engaged in constant intercourse with users, those bodies rush against the carefully established rules of architectural thought. No wonder the human body has always been suspect in architecture: it has always set limits to the most extreme architectural ambitions. The body disturbs the purity of architectural order. It is equivalent to a dangerous prohibition.

Spaces are qualified by actions just as actions are qualified by spaces. One does not trigger the other; they exist independently. Only when they intersect do they affect one another. The same occurs in architecture: the event is altered by each new space. And vice versa: by ascribing to a given, supposedly 'autonomous' space a contradictory program, the space attains new levels of meaning. Event and space do not merge but affect one another.

When spaces and programs are largely independent of one another, one observes a strategy of indifference in which architectural considerations do not depend on utilitarian ones, in which space has one logic and events another.

A ritual implies a near-frozen relationship between action and space. It institutes a new order after the disorder of the original event. When it becomes necessary to mediate tension and fix it by custom, then no single fragment must escape attention. Nothing strange and unexpected must happen. Control must be absolute. 

Bernard Tschumi.

Everyday Life/Spatial Intimacy.

The original, spontaneous interaction of the body with a space is often purified by ritual.

Concerned with the way art museums offer up values and beliefs.

Civilizing Rituals/Inside Public Art Museums.

Carol Duncan.

Art always risks the plurality its iterations, that they can become colonized, immobilized and arrested within dominant belief structures. It is always the plurality alive in the art work that always risks being overtaken by the forces of encounter it invites.

Erin Manning, Relationscapes.

The Diagram/Drawing of the Work

In-Gathers the Works Feeling.

The Dreaming's, potential to create new kinds of futures in the present.

Making works/drawings that resonate/openings into the indeterminacy of experience.

Allowing the workings of art to facilitate the opening of the present to its potential for experiential complexity through the ontogenetic plurality of sense(s). 

Napangardi's work activates the Dreaming's potential, becoming both a technology of the future and a technique for the present.

Erin Manning/Dreaming's paintings by Napangardi.

The Final Act/Fact in the Work of Art.

Landing Sites, we land into the focus of an awareness that becomes with us.

The Decision of Emphasis is how the work satisfies its becoming, this satisfaction is the present finality of its current iteration.

Alfred North Whitehead.

Creating art-work that remains open to an infinity of potential evocations.

Feeling Drawing/Spatial Experience.

Indexical Traces/Decarcations/Materiality/Media

The flow of time in the event/duration of drawing.

Figuring it out, drawings/diagrams/lines/paths of sensory inquiry.

How we feel things/phenomenology.

Uncovering unconscious things/psychoanalysis. 

Life Drawings/Propositions with/for the human body.

What the ecology of the drawings show, what is hidden, seeing naked or nude.

Naked in Norwich.

Undercroft.

Space violating bodies : Architectures of Display/Ritual/Violence.

General Ritual Features of Art Museums.

Firstly, the achievement of a marked of 'liminal' zone of time and space in which visitors, removed from the concerns of their daily, practical lives, open themselves to a different quality of experience.

Secondarily, the organization of the museum setting as a kind  of script or scenario which visitors perform. Carol Duncan has argued that western concepts of the aesthetic experience, generally taken as the art museum's raison d' etre, match up rather closely to the kind of rationales often given  for traditional rituals (enlightenment, revelation, spiritual equilibrium or rejuvenation).

In the liminal space of the museum, everything, and sometimes anything, may become art,including fire extinguishers, thermostats, and humidity gauges, which when isolated on a wall and looked through the aesthetizing lens of museum space, can appear if only for a mistaken moment, every bit as interesting as some of the intended-as-art works on display, which in any case do not always look very different.

Circumstances are everything.

Notes on the making of a conditional art.

Robert Irwin.

Art is primarily a situation.

Robert Morris. 

Like everything else in life, art is not defined by its physical description, its formal qualities or even its conceptual foundation, circumstances are everything. Something could be art or it could not be art, it all depends on the situation.

Bernard Tschumi agues that architecture is never autonomous, never pure form, not a matter of style and cannot be reduced to a language. He opposes an over-rated notion of architectural form, and hopes to reinstate the term function and more particularly, to re inscribe the movement of bodies in space, together with the actions and events that take place within the social and political realm of architecture. In Architecture and Disjunction he refuses the simplistic relation by which form follows function, or use, or socioeconomics. In contrast, he argues that in contemporary urban society, any cause-and-effect relationship between form, use, function, and socioeconomic structure has become both impossible and obsolete.