A Body of Relations/On The Drawing Process.

Outpost 051023

The Process of Production

Seeing beyond concepts of looking.

The Dematerializing of the Art Object.

The process rather than art object as the primary site of the artist's creative output.

Lucy Lippard, Six Years: The Dematerialization of The Art Object from 1966 to 1972.

 

A Body Of Relations:

Reconfiguring The Life Class.

The reconfigured life class provides a performative, discursive, social space to empower the life model to actively engage in the production of his/her own self-image. In addition the research re-frames the life class as a site in which the discourses of contemporary art as 'relational' and 'performative' can reach its apotheosis as a de-materialized performance event, whose trace exists in the dispersed materiality of the artist's body and whose silenced subject, the life model, becomes a full individual subject.

Yuen Fong Ling. 2016

2.5. Black Market, Pawel Althamer. 2007

In the artwork titled Black Market by Pawel Althamer, the exhibition sees participants making an effigy of the artist. The work neither focuses on the reference or the final outcome, but on the process of production. Polish Africans are trained in basic skills of carving and sculpting by the artist; they demonstrate their skills in a workshop environment presented as an installation in the exhibition. 

This active delegation of skills passed on by the artist to his participants, begins to fold traces of the artist in a process of transferral, where participant's subjectivities are merged with that of the artist. 

This framework for open contingent and non-scripted outcomes are rooted in Althamer's education under the tutelage of artist Grzegorz Kowalski, who was in turn influenced by Oskar Hansen's theory of 'open form' a form of architectural practice that encompassed 'collective thought' to dislocate any singular vision or use in the production of building design.

Artworks produced under these conditions meant that artworks were co-authored restrained  by time scale and the given situation. The artist in the role of teacher or tutor, to facilitate participant's ideas inflected in the production of the artwork. Althamer highlights intimate and often emotional inter-subjectivities. Rather than the distanced, silenced, objectified mode of temporary  participation.

The result is a sculpture that is a receptacle of negotiation, a choral self-portrait that depicts Althamer's as much as it captures an image of those who created him. 

Gioni, Massimiliano, The Hero with a Thousand Faces : Pawel Althamer. 2008

For Yuen Fong Ling, Althamer's image, as surrogated in figurative sculpture, through a delegated performance of participants, both united in a personal and political struggle with society and the realms of its reality.

Althamer's use of the open form methodology aims to democratize the formation of authorship in the artwork. Through the inclusion and collaboration of participants, Althamer has gradually developed the participant's active role and position. 

This 'delegated performance' as described by Claire Bishop allows Althamer to exercise his personal politics and his participants right to choose to partake in an art event, furthermore Althamer begins to physically manifest an object containing the participant's innate subjectivity. Bishop comments an agreement with the artist's own intent versus the participant's own inherent being. Participant's as active producers, influenced, even taught by the artist, potentially conditions the participant, in view of a pedagogic project of the artist.

Claire Bishop, Artificial Hells: Participatory Art  and the Politics of Spectatorship.2012

The Drawings of Richard Diebenkorn.

John Elderfield.

To reveal what has been discovered.

Subjects enlarged across a surface as a condensation of carnal knowledge.

Thinking In Drawing.

Drawing from life, at the threshold of painting.

When we talk of drawing as spontaneous, we refer not only to the sense of immediacy produced by the finest drawings, but also to how a drawing's very identity presents itself to us, to an extent beyond that of any other work of visual art, as the direct record of the movement of the artist's hand.

A drawing is intrinsically the record of movement in time. Hence, it can indeed be more purely impulsive than any other work of visual art-unless another such work partakes of drawing as its very structure. More often, of course, a drawing comprises a network of recorded movements, which tend usually to slow in their accumulation. And our appreciation of a drawing like this requires that we retrace these movements, their duration and their accumulation, from the evidence they have left behind.

Diebenkorn is always composing his subjects, ordering their shape. Forms are overlapped by other forms to weld everything together in that particular pose. If the model is shown  performing some action, she performs it very slowly indeed. Usually, she is immobile. The eroticism of the body reveals itself simply by holding a pose-in its intermittence: in the intermittence of hands brought together and held for that moment in that  particular pose: in the intermittence of that part of the body suddenly revealed by limbs as they form that particular pose.

We should notice at this point that, by and large, Diebenkorn's best figure drawings are frontally composed. He faces his subjects and enlarges them across the surface, sacrificing proportion if necessary for pattern, thereby discovering a sequence of contours-some arabesque, some geometric, that read almost autonomously as condensations of carnal knowledge. 

We should also notice that while Diebenkorn faces his subjects, they are generally do not have him. His models usually look down or away. They seem self-absorbed. Part of the reason for this is that Diebenkorn does not want to make psychological contact with the face. He wants us to grasp the meaning of the work from the whole composition and not have it filtered through the personality of the model.

This is also why he spreads a sense of corporeality beyond the contours of the model: to give the sheet as a whole living vibrancy. But there is another reason. It can be discovered in the kind of self-absorption his models display. They are not melancholy, or secretive, or brooding, or even bored. They seem quietly contented, self-assured, harmonious, at peace of mind. They may look distorted, altered from what we expect to see. But  they tell of the harmoniousness of their condition.

But drawing, unlike painting, picks out the artist's preferences at once. His means are immediately at hand and therefore his meanings are given immediately, the artist is forced to deal with the model's reality, to emotional reactions to particular things.

The drawings in question include a great series in charcoal, heavily worked and extensively revised until they comprise condensed symbols for the body of the model; some works in pencil and crayon where an almost geometric scaffold of echoing severe lines composes the body of the model and some boldly designed, extremely flattened studies of this drawing studio itself.

Each work on paper is a prolonged meditation on what drawing can accomplish at the threshold of painting. 

The drawing insistently designs or divides the field, which partakes of the density of drawing.

Firstly, something done on paper cannot be worked quite as long as something on canvas. There will be a point beyond which the surface can be bruised no more and will actually collapse in final failure. Some of the works on paper, therefore are extremely spare: the smallest possible number of notations that will suffice to realize their composition. However since the bruises do show more on paper than on canvas, perhaps the work on paper should not dodge them after all but, instead accumulate them, making such work far more explicitly a record of their accumulation than a painting can be. Diebenkorn prefers shiny, coated paper and he also uses masking devices to preserve the sections of a drawing he likes while scrubbing out others. Often this generates new imagery.

Secondarily, something done on paper, however need not be wiped clean if it is not working. Neither does it have to be painted out. It can be patched. This option is not available to painting: not Diebenkorn's painting. Some of his works on paper therefore comprise dense sandwiches of paper. But they are never collages that draw attention to the disparate character of their parts. For the point is always to adjust each fragment until the parts disappear into the whole. In the works of this kind, the artist does physically, materially, what he does more often by adjustment of linear boundaries: amalgamate a corpus of parts. At times, he will thus enlarge a work in its making, something impossible for him in painting.

Thirdly, the different scale of the small size is the scale of things close to hand. It is the scale established by the hand and the wrist and by the arm bent rather than extended. Everything is closer and more enclosed. Everything is therefore more intimate as well. And yet, the intimacy of these small works is that of research done privately but for publication, almost like scientific experiments. They do , in fact, test ideas. And while no painting will duplicate what a work on paper discovers, parts of paintings will remember parts of works on paper. Images discovered in these independent drawings are constantly cross-bred, hybridized and new drawings are grown out of them. Diebenkorn's images on paper are constantly dissected and reassembled from one work to the next, altering in the process.

Clay based inquiry around  practice led/speculative making.

Filling the Red Kiln, re-visiting/re-presentation of 'clay works'.

Making Thresholds/Dialogues between the container and the contained.

 Outpost 260823

Clay-Drawings at Bayfield.

Observatory/Propositional Assemblage.

Animacy, surfaces/things that have opened up their surroundings.

The living body is only sustained thanks to continually taking in materials from its surroundings, and in turn discharging them, in the processes of respiration and metabolism. 

Yet as with pots, the same processes that keep it alive also render it forever vulnerable to dissolution. That is why constant attention is necessary, and also why bodies and other things are poor containers. Left to themselves, materials can run riot. Pots crumble; bodies disintegrate. It takes effort and vigilance to hold things together, whether pots or people.

Bodies on the run, Tim Ingold. 

Itinerant Correspondences/Drawing and Telling. 

Thinking From Things.

To think from materials, to find the consciousness or thought of the matter-flow.

Deleuze and Guattari.

The living work of art, however, is not an object but a thing, and the role of the artist is not to give effect to a preconceived idea but to follow the forces and flows of material that bring the work into being. To view the work is to join the artist as a fellow traveller, to look with it as it unfolds in the world, rather than behind it to an originating intention of which it is the final product. The vitality of the work of art, then, lies in its  materials, and it is precisely because no work is ever truly 'finished' (except in the eyes of curators and purchasers, who require it to be so) that it remains alive.

Tim Ingold.

The Telling of Stories is an Education of Attention.

Making Through Anticipatory Foresight.

To tell, in short, is not to explicate the world, to provide the information that would amount to a complete specification, obviating the need for would-be practitioners to inquire for themselves.

It is rather to trace a path that others can follow. Thus the hunter, educated in stories of the chase, can follow a trail; the trained archaeologist can follow the cut; the competent reader can follow the line of writing. Making their ways in the company of those more knowledgeable than themselves, and hearing their stories, novices grow into the knowledge of their predecessors through a process that could best be described as one of 'guided rediscovery' rather than receiving it ready-made through some mechanism of replication and transmission.

Tim Ingold.

In place of specification without guidance, the story offers guidance without specification.

Sensing Spaces

Making

Thresholds

The Materials of Life

Are you interested in the idea of threshold?

What is interesting in the world are the grey areas. So what I have designed is a threshold. It's not possible for an architect to design a space – such a concept does not exist. Instead, we design the thresholds and the limits: the walls, windows, doors and so on. And people have feelings about these elements and put them together and create the sensation of a space. I'm interested in designing the elements that give the impression of a space – which is why I like doors.

The dialogue between the container and the contained, the boundaries and the space within them, is an obsession in contemporary culture, where the node is more important than the object. That's why architecture must work at the limits, not invent the shape and language but straddle two worlds, on the knife edge.

A door is usually part of a wall, but you have extracted this element from the wall.

Kate Goodwin, Alvaro Siza. Sensing Spaces. 2014.

Telling By Hand.

The Humanity of the Hand.

The Eyes of the Skin.

Jacques Derrida holds that the proper function of the eyes is not to see but to weep. Behind the veil of tears that blurs the vision of the sighted, the eyes can tell of grief, loss and suffering, but also of love, joy and elation. Even the blind can weep.

Figure 2.3 Consciousness, materials, image, object: the diagram

Making/Flow of Consciousness/Materials into and across Image/Object

Experience can only be understood between mind and body or across them in their lived conjuction.

Merleau-Ponty. 

Telling By Hand.

The Tacit Dimension : That we can  know more than we can tell.

Polanyi is primarily interested in what it means to know, his reflections of personal knowledge assume that telling is tantamount to putting what one knows into words, in speech or writing, and that this entails two things: specification and articulation.

Michael Polanyi.

Tim Ingold, interested in 'performativity' what it means to tell, going beyond the 'predictive' nature of  what it means to know.

Ingold argues that we can tell of what we know through practice and experience, precisely because telling is itself a modality of performance that abhors articulation and specification.

The figure of the silent craftsman who is struck dumb when asked to tell of what he does, or how he does it, is largely a fiction sustained by those who have a vested interest in securing an academic monopoly over the spoken and written word.

Specifications provide information about the specified, about the materials to be used, about parts and their dimensions, about movements to be made. They define a project. But stories issue from moving bodies and vital materials, in the telling. They lay down an itinerary. It is precisely because both their knowledge and their practice have the same itinerant character that ,in storytelling, practitioners can bring them into correspondence with one another. 

Art Works Outpost Studio 2021 : Discursive Constructions/Speculative Practices of Knowing : Possible Worlds/Robert Lepage 2001

Art Works : Discursive Constructions/Speculative Practices of Knowing

Outpost Studio

020921

Photo 7980 : Possible Worlds, a photo by Russell Moreton on Flickr.

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. 

On Installation and Site Specificity (introduction) Erika Suderburg

The point is not simply to put the observer or knower back in the world (as if the world were a container and we needed merely to acknowledge our situatedness in it) but to understand and take account of the fact that we are part of the world’s differential becoming.  And  furthermore, the point is not merely  that knowledge practices have material consequences but that practices of knowing are specific material engagements that participate in (re)configuring the world

Karen Barad, Meeting the Universe Halfway

OUTPOST STUDIO 2021

The Potential of The Abstract Field

Robert Cooper

The Materials of Life

Tim Ingold

Possible Worlds (2001)
Reviewed by Jason Korsner
Updated 11 July 2001

The fourth film by the French Canadian theatre director Robert Lepage - his first in English - cements his reputation as a film maker with a unique vision.

"Possible Worlds" is a poetic study of the nature of human existence, wrapped up in a murder mystery.

George Barber (McCamus) is found dead with $1000 in his pocket but with his brain missing. Interspersed with the subsequent police investigation, we see moments of George's life as he struggles to make sense of the world - or worlds - he lived in. "Each one of us exists in an infinite number of possible worlds," he muses, as he keeps meeting the same woman, Joyce (Swinton), although each Joyce he meets has a different past, a different present, and a different personality.

Lepage employs exquisite visuals as he explores George's imagination and the role it played in his life, asking fundamental questions like do our thoughts exist before we think them? Or is there another me?

Tom McCamus displays just the right amount of vacant confusion, while Tilda Swinton gives a remarkable performance - or four performances - reprising the same character in different but simultaneous worlds.

The pace is slow and deliberate, but any faster and the audience would get lost. "Possible Worlds" is not easy to watch, and poses more questions than it could ever hope to answer, but this intelligent film will certainly achieve the director's goal of inspiring discussion.

The Psychoanalysis of Fire : Gaston Bachelard. 1964

Cyanotypes : Creative Ecologies

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.

Blueprints : Anthropological Forms
Botanical traces with leper graves

DSC_0205 Archipelagic

DSC_0250 Architectural Blueprint

Biosphere (Ecology and Entropy) 2012.

Explorations around dwelling/site based ontologies : Site/Life-specific/animate installations.

Outpost 240123

Harleston 170923

Speculative/Creative /Geographies/around Moving Bodies of Thought.

Rethinking The Animate, re-animating thought, Tim Ingold. 

Overlay, Contemporary Art and The Art of Prehistory, Lucy R. Lippard.

Homes and Graves and Gardens. 

The Architecture Of Luis Barragan, Emilio Ambasz.

Intimately bound to Barragan's sensitivity for colour is his animistic feeling for matter. In a culture exhausted and irreparably fragmented, the walls surrounding Barragan's gardens are perhaps the last defences to preserve centuries of thought and emotion.

Explorations around dwelling/site based ontologies.

Dwelling/Person/Environment/Engagements.

The simple fluid 'flat' making ontologies of bringing/bonding clay forms together.

Worlding/Water/Performative/Intraventions.

A Practice of Transformational Modalities.

The Processual Character of Form.

Organic life, as I envisage it, is active rather than reactive, the creative unfolding of an entire field of relations within which beings emerge and take on the forms they do, each in relation to the others. Life is the very process wherein forms are generated and held in place.

Ingold.

For Ingold, there is no environment without the folding and enmeshment that is the process of life. Organisms are not folded in on themselves and surrounded by an 'environment'. Instead organisms are points of growth of environment, and whose relations are rhizoidal; and the environment is better understood as a domain of entanglement.

 

Making/Curriculum/Dwelling/Landscape/Place.

Re-imagining Education.

Brockwood Park School.

Understandings of place and agency.

Development/Growth/Knowledge/Skill.

Studies in Philosophy and Education.

Discussions around epistemology and ontology.

Improving Human-Environment Relations.

Dwelling.

Rethinking the animate, re-animating thought.

Tim Ingold.

Ingold insists on a flat,continuous and processual ontology of dwelling and becoming.

Curriculum Making as the Enactment of Dwelling in Places.

Empirical Research.

Participation.

Poetics of Space.

Reverberations/Dwelling.

Gaston Bachelard.

Why is everything we think we know about ecology wrong?

Being Ecological.

Timothy Morton.

Architecture has the capacity to be inspiring, engaging and life-enhancing. But why is it that architectural schemes which look good on the drawing board or the computer screen can be so disappointing 'in the flesh'?

The Eyes Of The Skin.

Architecture and the Senses.

Juhani Pallasmaa.

Marking The Line.

Ceramics and Architecture.

Formal/Monumental/Archetypal Vessels.

The giving jug/the receiving bowl.

The making by pressing clay into a mould and then manually hollowing and adjusting the form is clearly a sculptural one-off procedure as opposed to industrial repetition. However, the obsessive working of the surface- post-firing pigments, hand painted layers and final waxing- is reminiscent of the prototyping of industrial design and automotive design products in a mimesis of an envisaged perfected shell.

The Present in the Past, Eric Parry.

  

Site/Life-specific installations.

Building a bridge between ceramics and architecture.

Shared ground, both pursuits are primarily occupied with the use of space, scale, volume and materials.

220923

Requiem: 

Drawn to that moment.

Thoughts on disappearances opposed as assemblages/John Berger.

False Hope/Short Movie/Laura Marling.

Wonderful World/Nocturama/Nick Cave and The Bad Seeds.

Atom and Cell/Snow Borne Sorrow/Nine Horses.

The Faster I Breathe The Further I Go/The Wind/P J Harvey.

Balamory Death Chant/Songs for Lonely Americans/Sir Vincent Lone.

The Temple of Love (1992)/Touched By The Hand Of Ofra Haza/The Sisters Of Mercy.

Ruins/When Shall This Bright Day Begin/Josef Van Wissem, Zola Jesus.

Fall/Some Ancient Misty Morning/Jackie Leven.

Propositions and Structures/Landing Sites/Event Markers : Experience in the making.

Outpost 190723

Ceramic Forms/Speculative Spaces.

The ambient wholeness of the world at large is impossible to take in.

Erin Manning/Arakawa and Gins.

Demarcations/Sensations in the Landscape of Perception.

The Apparent Blindness of Little Perceptions.

White Sticks and Subsidiaries.

The Meaning of the Tactile Experience.

Curriculum Making as the Enactment of Dwelling in Places.

The Environment without Objects.

Bringing Things To Life.

Creative Entanglements In A World Of Materials.

Tim Ingold.

Subsidiaries exist, as such by bearing down on the focus to which we are attending from them, and are integrated one to the other by the act of a person, and last only as long as a person, the knower, sustains this integration by indwelling (living in) them.

The proof of the existence of two kinds of awareness comes when we try to observe how we do all this. If our blind man shifts his attention from the tip of his cane to his hand, the meaning on the end of the cane disappears (or becomes something else). Deprived of the meaning of its actions, any description of the process is merely a description of the 'mechanics' and not perception at all.

Robert Irwin.

Relationscapes : Erin Manning.

For Arakawa and Gins.

Fielding Microperceptibility.

Suddenly we are no longer simply watching things moving, we are feeling movement moving. We are moving with our watching fielding the finding form of microperceptions. This finding form of microperceptibility that gives rise, to a quasi registering of an affective tonality rather than a particular emotion. 

We move-with the movement even as we are moved by it, 

The more ambiguous the surroundings, the greater number of Imaging Landing Sites. 

Imaging Landing Sites are virtual events in the making, they foreground the kinaesthetic flickering that propels the taking form of an event.

Landing Sites are event markers in and of the event fabric that is organism-person-environment.

Landing Sites corner the experience in the making.

Imaging Landing Sites give affective resonance to the relation between experience and feeling, they give force to the taking form of the experience.

Arakawa and Gins.

Hungate Glass Abstracts

Raveningham Site Drawing on Architectural Paper.

White Sticks/Visual Feeling/Drawing on Blindness/Feeling through Subsidiaries.

Feeling Drawing/Drawing with Trace and Inscription.

Breathing/Perceiving in the landscape through the phenomenal sensations of subsidiaries/white sticks integrating an awareness of both an indwelling (living in) and a visual demarcation of that movement of gathering sensations.   

Drawing into the phenomenal by using media/tools and sensations/experiences through the site of the situated body of the knower.

Personal Knowledge, Michael Polanyi.

The semantic aspect of this transformation is that the information the man gets by feeling with the cane is the meaning of the tactile experience.

Picture a blind man probing his way with a cane. While he is alert to the feelings in the hand holding the cane, the crucial distinction may be defined by saying that these feelings are not watched in themselves, but he watches something else by way of them, that is by keeping  aware of them.

He has a subsidiary awareness of the feelings in his hand, feelings which are merged into focal awareness at the end of the cane, constituting two kinds of awareness that are mutually exclusive-'from awareness' and 'focal awareness.' There is here a particularly interesting phenomenal transformation. The sensations of the cane on his hand (the surface of the cane as it touches the palm of his hand, etc.) are lost. Instead, he feels the end of the cane as it touches an object.

Being and Circumstance.

Notes Towards a Conditional Art.

Robert Irwin.

All perceptual knowing is knowing in action (change) and the equivalent of the phenomenal.

Change is the most basic condition (physic) of our universe. In its dynamic, change (alongside time and space) constitutes a given in all things, and is indeed what we are talking about when we are talking about when we speak of the phenomenal in perception. Most critically, change  is the key physical and physiological factor in our being able to perceive at all.

For Irwin, our perceptual process is a kind of 'perpetual motion' assimilator. No change, no perceptual consciousness. So while it is perfectly understandable that the overwhelming majority of our conceptual energies are spent on organizing this myriad of perceptual data into some 'familiar picture' we can work and live with, what is not so understandable is how much of those intellectual energies have been spent on trying to avoid this fact and its effects on our lives. 

LEARNING TO LEARN

On Learning

Brockwood Park School.

J. Krishnamurti.

MAKING : Anthropology, Archaeology, Art and Architecture.

Towards an Ecology of Materials.

Knowing is Movement/Knowing from the inside.

Tim Ingold.

Transvaluation Symposium 2015.

Performative Intraventions and Matters of Care.

Choreographing Values.

Thinking Things-in-Phenomena.

Diffractive Readings.

Karen Barad.

Oren Lieberman and Alberto Altes.

LiAi : Laboratory of Immediate Architectural Intervention.

The shift we propose in architectural practices and pedagogies- towards a privileging of processes and modalities of responsible making and learning- starts with an active stance that focuses on the transformational nature of interventions performed in real times and places. 

Through the performative, we shift our attention from what a thing looks like to what a thing does, and from objects and artefacts to 'movements' as well as to the effects of our practices and actions in life. This transformational 'mode' echoes the proposed category of worlding- with its accompanying history of 'indefinition' and 'indetermination' as well as its clear co-responsive engagement in the making of the world-and locates us in the realm of 'situatedness', or inside phenomena.

We are within, and active parts of, specific situations that we encounter in relationship to a series of concerns, things that really matter and have to do with the ongoing becoming of the world. Becoming inside these situations requires a certain fidelity, a certain willingness to stay and to endure; a caring in duration. In this duration it is both possible and necessary to develop situated knowledges, which emerge as 'ways-of-doing-and-making' from our engagement in worlding practices, practices which are also, for that reason, learning experiences.

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

Tentative Building Profiles : Speculative landing sites of surface, image and texts.

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

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

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

Corporeal Phantoms/Attendants/Skins : Alternatives/Others in Photography/Phantasy Surfaces

Landscapes : entering/intruding/emerging (holga819)

Working Title : Montage Samples
Historical Presence #4

Helena Eflerova, 18 minute rehearsal ,GASP 2009

Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)

Dr. Bruno Latour on climate change and the "Anthropocene": Wall Exchange, Fall 2013

Camera Obscura : Physical Touch #2

Photograph (240) drawing

Sequential Photograph : Performing Photography/The Inseparable Attendant