Art and Anthropological Concerns : Spatial Agencements : Processual Circulations.

Wednesday, 10 April 2024

Praesentia/Drawing and Assemblage : Cyanotype Exposure/Trace.

Drawing is an art of presence and transparency, of phenomena close at hand unfolding.

The Primal Scene of Drawing.

Monday, 8 April 2024

Between the Shape of Light and the Shape of Things.

Outpost 220324

Japanese Pottery/Raku Bowls.

Drawing, the layers create an aggregate, they are generative rather than descriptive.

Carlo Scarpa.

Between the Shape of Light and the Shape of Things.

I believe that it is art that makes us grasp the reality of the world. It is the effort that human beings have made since the beginning. To make clear for themselves through forms, their own existence.

Carlo Scarpa. 1978

Scarpa finds rhymes/waves, conversations between the structural forms and the shapes of the objects, he designed with transformation and decay in mind. He knew how to wait, how to let ageing and patina complete their work.

The creative consciousness of collapsing time and of death marks all Scarpa's strategies and narratives. At Castelvecchio he leaves great distances between objects allowing them to converse with one another solitarily. His job he believed was not to show himself but to show the works and lend them sight, intensifying their resonance with one another and setting up dialogues between them and the architecture.

Light as a Mutable Presence.

Scarpa needed a light that moves, to give depth to the surface of the casts and to lead them into conversation. I set up my work by pairing like images, to show the different character of pieces as the fall of light changes, not to show light is brought in, but to account for its effects. Each work becomes solitary, tranquil but together they engage in a distant conversation, a little distracted as if in a world of their own. They look at one another from their private pools of illumination.

Guido Guidi.

And what of the present?

The present has no duration, when I measure time, I measure impressions, modifications of consciousness.

Saint Augustine.

Few architects have dealt with the kind of luminosity, reflection and the sheen of materials as that which preoccupied Scarpa.

The Chapel of St Ignatius.

Steven Holl.

Architecture holds the power to inspire and transform our day-to-day existence. The everyday act of pressing a door handle and entering into a light washed room can become profound when experienced through sensitized consciousness. For Holl to hear, feel and see these physicalities is to become a subject of the senses.

Goethe, one should not seek anything behind the phenomena, they are lessons themselves.

The spiritual exercises of St Ignatius of Loyola argues for a philosophical interpretation of the senses. This work preceding later writings on phenomenology by 300 years, critically re-orders the hierarchy of the five senses. Hearing becomes the most refined sense, while sight the traditionally dominant sense comes third after touch.

A Gathering of Different Lights.

Vision.

Realization.

Radiance/Illumination.

The Haptic Realm.

Studies in Light.

Steven Holl in 'Questions of Perception' describes a phenomenology of architecture that argues for a heightened development of spatial and experiential dimensions through individual reflection on the senses and perception. Holl comments on the need to open ourselves to perception, we must transcend the mundane urgency of 'things to do'. We must try to access that inner life that reveals the luminous intensity of the world, only through solitude can we begin to penetrate the secrets around us. An awareness of one's unique existence in space is essential in developing a consciousness of perception.

Sunday, 7 April 2024

Architectural Abstracts/The Works Subject/Conceptual Resonance

Outpost 070723

On The Plane of Feeling.

The Aesthetic Dimension of Individual Human Experience.

We Are Moved To Think.

Incipient Expressions.

Feeling-with is a force for thought.

A work creates a force for rethinking as much as a force for the experience of sensation's relays towards prearticulation.

One work can have many dynamic forms, many concepts, many feelings or thoughts.

The artist is not the subject, rather prearticulation is.

The Work's Subject

Is Its Dynamic Form

Its Valuation

Its Conceptual Resonance

Its Diagram.

Activating new parameters for thought.

The force of feeling-things becoming into existence.

To posit a subject for feeling means, engaging with the creative from the outside. This taking form is less the formation of a concrete identity than the culmination and residue of a process.

The Work creates its own subject, its subject is the force of becoming it proposes.

Feeling is power's compulsion of composition.

Whitehead 1929/1978.

The compulsion to compose is an aesthetic drive, a will towards sensation, a will to power-feeling.

Becoming-Bodies Feel-With The World.

Amanda Baggs feels-the-world. Watch her reading a book, she touches it, puts her face into it, listens to the pages rustling, smells it, looks at it. Through her the book becomes conjunctive, valued within a complex responsive environment. By culling the bookness from the book, Baggs makes the field of its musicality felt, its texture, its force of becoming not only as an object to be read but as a relation to be lived.

By feeling the book, Baggs brings the book into relation with a force of prearticulation that exceeds the book-as object.

Erin Manning.

Concepts appear/manifest-themselves as forces of expression in its incipiency.

The Multiple Sense Of Concepts.

There is no event,

No phenomena,

Word,

or Thought

Which Does Not Have Multiple Sense.

A thing has many senses as there are forces capable of taking possession of it.

Deleuze. 1993.

Concepts value the rhythmic pressure of feeling/thinking with the work/world.

The concept is a gear-shift mechanism that acts on blocks of sensation, oscillating between thought and articulation, it pulsates between the actual and virtual realms. On the virtual stratum concepts propel the becoming event of thought, they feel its force of creation. On the plane of composition concepts articulate the dynamic form of prearticulation, they express the feeling of force.

The theoretical object as a concept to express the force and feeling of inquiry.

The Stick Thing, Canterbury School of Architecture/Spatial Practice/Oren Lieberman. 2009.

Robert Irwin

Notes Towards A Conditional Art.

2011/2017.

Editor's Note to the Reader.

Beatrice Hohenegger.

The fact that so many manuscripts have until now remained unpublished reinforces Irwin's characterization of his writing as motivated not by communication or publication, but rather by a desire to examine and clarify core questions that he was pursuing at key moments in his career.

Introduction

Irwin's Writing.

Matthew Simms.

In a statement published in 1998, Robert Irwin emphasized that his essays, were not written in order to communicate, I am a visual artist, not a writer, or to refute criticism, writing was for me a means to examine the questions that were turning in my head concerning the 'why' of art, with the intention of clarifying the process of making. Together, they reflect relatively well the development of my thinking and the guiding idea of my work: the potential of each person to perceive the surrounding world from a unique aesthetic perspective.

Notes toward a Conditional Art brings together for the first time Irwin's published and unpublished writings. While the texts span a wide range from letters to project proposals, the vast majority are personal ruminations, sometimes set down in draft form and other times worked up into fully developed essays. They cover a diverse conceptual terrain including, among other things, Irwin's philosophy of teaching, the lessons of modern art, and the artist's understanding of art as a form of pure inquiry. Above all, this book makes clear that starting in the 1960s and continuing up to the present, writing has been and remains an integral element of Irwin's multifaceted art practice.

White Washed Spaces:

Hungate/Water.

Provisional Objects/Architectures.

Porous Fired Clay-Drawings as Spaces.

Thinned Gesso, Sanded/Abraded Surfaces.

Lead Sheet/Glaze/Slip/Batt Wash/Opal Glass.

Compositional Tilt-up Pieces/Vessels.

Figural Body/Water on Chinese Paper.

Hybrid Body-Trace Drawing.

Indian Ink/Cyanotype Process.

Mounted/Inter-hanging/Canvas/Screen Mesh.

White Conduit/Nylon Line.

Re-Visiting The Human Outline.

Chinese Paper/Thinned Gesso/Wax/Lime

On The Plane Of Feeling.

We are moved to think through a conceptual unfolding a reaching towards-expression.

Through feeling, thought begins to take form as a conceptual force.

The complex interplay of the transversal passage between thought-concept-articulation-

For Whitehead, feeling is the pulsion that transduces thoughts into becoming concepts.

Feeling is a pulsion to think, a sensitivity that situates thought in the world. Through feeling, thought's affective tonality is foregrounded.

Affective tone is an environmental resonance of a feeling-in-action, as a vibrantile force that makes a resonant milieu felt. (The Hungate, Norwich, Propositional Workings)

Feeling Is Affect Bleeding Into Thought.

Activating complexities on the verge of expression. At the threshold of thought as creation, feeling provokes an aperture for that which has not been thought.

Thought is a lure for feeling that prearcticulates the virtual inflections of its incipient expression.

Feeling-with is not without thought, it is a force for thought.

Sunday, 31 March 2024

A Brief Phenomenology of Enchantment : Assemblages/Relationscapes/Things exist rooted in the flesh (R. S. Thomas)

Blueprints,Texts and Materials/Building on Concerns
Toward a New Interior.

Relationscapes
Movement, Art, Philosophy. Erin Manning. 2009

What Moves as a Body Returns as a Movement of Thought

Heidegger's Topology

Things exist rooted in the flesh (R. S. Thomas)

Being, Place, World

Jeff Malpas. 2008

David Smith : Sprays, The Absent Object. Peter Stevens

Eidetic Image, Nearness/Proximity/Atmosphere

Temporal Structures,

Unthinking Eurocentrism

The Political Writing of Adam Kuper and Tim Ingold

Justin Kenrick. 2011

Pottery, The mindfulness of making social

Anthropological Notebooks 17

The War of Dreams

Exercises in Ethno-Fiction.

Marc Auge

The Culture of The New Capitalism

Richard Sennett.

VISITORS

a film by Godfrey Reggio

The World of The Anthropologist

Marc Auge, Jean-Paul Colleyn. 2006

The Field

The basic methodology of anthropology is ethnography. This is the famous 'fieldwork' in which the researcher shares the daily life of a different culture (remote or close), observes, records, tries to grasp the 'indigenous point of view' and writes.

Objects of Anthropology

Politics is also the art of administrating and producing subjects, citizens.

The Woman in The Dunes

Kobo Abe

Site-Specific Art

Performance, Place and Documentation.

Nick Kaye

Heidegger For Architects

Adam Sharr

Poetically Man Dwells

The Perception of The Environment

Essays in Livelihood, Dwelling and Skill.

Tim Ingold

Hans Coper

Sensations in the Vessel/Innerness

Clay and The Engagements of Mind and Body

Peter Zumthor

Thinking Architecture/ A Way of Looking at Things

Zumthor mirrors Heidegger's celebration of experience and emotion as measuring tools.

The physicality of materials can involve an individual with the world.

The Visual Poetics of Jannis Kounellis

Suzanne Cotter and Andrew Nainre

He translates the painterly relationship of figure and ground into the space of real situations

Kounellis's engagement with the social and historical content and with the material fabric of a given space is critical to his art.

The Castelvecchio in the Opus of Carlo Scarpa

Possibly until very recently Scarpa's work was still judged as anachronistic, small scale and craft intensive.

An Attitude to History, The Drawings, Formal Language,

Technical Specifications of Materials.

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

Site-Specific Art. Nick Kaye

Wittgenstein : The Duty of Genius

The work of art/aesthetics/ethics seen 'under the form of eternity'

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'.

Spatial Practices : Thinking Sociologically

'What does it do'?

Oren Lieberman