Architectural Agency/Learning Space : Brockwood Park Art Barn/Studio Works AS/A2 Students

Spatial Agency : Reflective Journal 2013. #5

Reflective Journal 2013. #5, a photo by Russell Moreton on Flickr.

Enchantments between materials, snow, paper and plaster : Bramdean 2010.

Text Extract/Inclusion. "Pure Presence"

The enchantment of modern life: attachments, crossings, and ethics : Jane Bennett 2001.

It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics.

As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ''narrative of disenchantment,'' one that presents a new ''alter-tale'' that discloses our profound attachment to the human and nonhuman world.

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.

Enchantments between materials, snow and paper.

Material gathered from the sky

Plaster cast around snowball 

Clay Work : Visceral Practices

Clay Work : Visceral Practices, a photo by Russell Moreton on Flickr.

Studio Space,The Yard 2, Winchester.

A Potter's Book: Bernard Leach
Art and Agency,an anthropological theory: Alfred Gell

Pastoral Space: Material,Inquiry and Craft.#4

Pastoral Space: Material,Inquiry and Craft.#4, a photo by Russell Moreton on Flickr.

1000 "pots" performative site 2011. The Yard, Winchester.

Social Spatialisation #2

Social Spatialisation #2, a photo by Russell Moreton on Flickr.

 

OUTPOST 111121

Spatial Practice/Spatial Representations

The Body and Space.

Lefebvre : The Production of Space.

A spatial theory/programme that seeks to reconcile the fractured definitions of space as perceived, conceived and lived, through deployment, occupation, immediate relationship.

The body is a medium that allows us to experience space.

Hortus Conclusus a walled garden. 

A Serious Place

The Garden of Forked Paths

Deviant, troubling and open-ended frames and features.

Boundaries, limits and transgressions.

Beyond privileging her body as subject and ruinous spaces for sites, Woodman made certain methodologies and technical approaches characteristic aspects of her practice in furthering the effects of the body/space encounters.

Cassandra Blair. 2015 

Some Disordered Interior Geometries. 1980-81 

The precision of mathematics meets up with the unruliness of bodies and selves.

Francesca Woodman's artist books.

The Contained Nature of Photographic Representation.

We respond to the experience in the photograph, the inner feeling generated by it.

Study For Space²

Hand drawn frames around the blurred presence of a body.

Francesca Woodman, Untitled, Providence, Rhode Island. 1975-78

The logic of the photograph and the logic of framing the self.

Contact sheet with annotations/spatial coordinates/lines and forms.

Every surface is sensitive to light, to pressure, to inscription.

Architectural surfaces heighten the relationships between the body and space.

Emotion, Space and Society.

Organism-Person-Environment

The flickering presence of Woodman suggests a less knowable form of subjectivity that remains porous to one's environment, a form of subjectivity produced in relation to to objects and buildings.

An intimate mode of looking : Francesca Woodman's photographs. 

Jane Simon. 2010

Ellipses as aposiopesis signals a certain trailing off, a sentence ending or not ending in the suspension of unresolved thought.

Francesca Woodman, Untitled, Providence, Rhode Island. 1976

Francesca Woodman, from Angel series Rome, Italy. 1977-78

She ponders the matter of things, the shape of herself that/what remains on the floor's emulsive surface. Skin, flesh, building materials, decay.

Photography sustains her inquiry into forms of subjectivity.

Intimate Viewing and The Play of Boundaries

The surfaces of representation through the articulation of a photographic process/practice.

Framing/Accommodating the Subject :Viewing apparatuses and mechanisms.

Photography and Architectural Voyeurism

The Split Wall : Domestic Voyeurism. Sexuality and Space, Beatriz Colomina. 1992

Negative and indexical shapes, corporeal and architectural playfully succumbed into an emulsive surface containing shadow and light.

The InHUMAN : Reflections on Time. Jean-Francois Lyotard. 1998

Site Apparatus/Camera Obscura : Sarah Kofman

About Camera Obscura:

Marx, Freud, Nietzsche--in vastly different ways all three employed the metaphor of the camera obscura in their work. In this classic book--at last available in an English translation--the distinguished French philosopher Sarah Kofman offers an extended reflection on this metaphor. She contrasts the mechanical function of the camera obscura as a kind of copy machine, rendering a mirror-image of the work, with its use in the writings of master thinkers.
In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud’s description of the unconscious. For Nietzsche the camera obscura is a "metaphor for forgetting." Kofman asks here whether the "magical apparatus" of the camera obscura, rather than bringing about clarity, serves some thinkers as fetish. Camera Obscura is a powerful discussion of a metaphor that dominates contemporary theory from philosophy to film.

www.amazon.co.uk/Camera-Obscura-Ideology-Sarah-Kofman/dp/...

The Mirrored Abbey : Anamorphic Photographic Process

The Mirrored Abbey : Humanity, a photo by Russell Moreton on Flickr.

The Custodians, Richard Cowper 1976.
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Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness