Photographic Collage : Temporal Framework/Spatial Frame
Thematic framework analysis is a qualitative research method that combines thematic analysis with framework analysis to analyse data.
Thematic analysis identifies patterns in data, while framework analysis provides a more structured approach.
Curatorial approaches to thematic knowledge creation/production/wellbeing.
Sample glass panel Stevens Architectural Glass Competition,
Addenbrooke's Research Hospital, Cambridge 2014.
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Ceramic Practice and Perception
Mind and Medium
Heuristic Material : Collage
1. encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.
2. serving to indicate or point out; stimulating interest as a means of furthering investigation.
abstracts : The Ruins of Cinema/Waverley Abbey Construction.
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Flux/Fusion with nothingness and absorption
Symbiotic relationship, feeding life, breath, energy, immanence
The visceral dark pots, meditations on existential feelings, volumes for thoughts, voids for imagination and fear, ecologies for living.
The “New Ceramic Presence” a metamorphosis of meanings rather than in the eternity of symbols.
As always, the artist is led, not by patron, not by populace, certainly not by the critic, artist is led by artist. The artist is his/her own culture.
Rose Slivka. The New Ceramic Presence. 1961
The Garden Of Forking Paths
Chieko Mori, Spiral Wave
James Blackshaw, The Broken Hourglass
Helena Espuall, Home of Shadows and Whirlwinds
Jozef Van Wissem, The Mirror of Eternal Light
Chieko Mori, Tokyo Light
The very materiality forces its very form.
Pots invite us to consider the world that is gathered around them and through them.
Loss of Relativity and the Forgetting of Air
Ceramics of immediacy/sensate in its own implicit space
And into the Fire
Post Studio Ceramics in Britain
Glenn Anderson. 2010
The politics of place rather than the nature of objects.
Clare Twomey most defines the post studio moment in British Ceramics.
Potters are making pots to be 'expressively photographed'.
Paintings have lost their 'relativity' becoming images rather can things.
Rawson's ideal pot would die quietly in a glossy photograph, but comes to life in the hands.
Clay and mind works with the tactility formed and found from the voids of inside/outside divisions.
For Heidegger, the potter's medium is not clay, but space itself.
The thing of his essay is not a particular jug, but the essence of one.
The thrown walls of a jug may address that space. But the content or purpose of the object remains the voids within it and around it, which it brings into a sort of communion with one another.
Raku as an ideology
A philosophy must be arrived at through a direct involvement with the materials and the process.
Clay,The Body, Breath.
Ceramics, Fire,Energy.
The vessel's thingness does not lie at all in the material of which it consists, but in the void that holds it
The potter who forms sides and bottom on his wheel does not strictly speaking make the jug, he only shapes the clay, no, he shapes the void. For it, in it, and out of it, he forms the clay into the form. From start to finish the potter takes hold of the impalpable void and brings it forth as a container in the shape of a containing vessel.
Heidegger. Poetry Language Thought 1971. The Thing 1950.
Pots always inhabit espace-milieu for the pots own space is continuous with the space around it, into which it extends and which makes it perceptable.
Anecdote of The Jar.
Wallace Stevens. 1919.
The pot/jar/jug does very little to dictate what happens around it. But it nonetheless conditions that reality, takes dominion.
The Vessel
Death and The Human Body
Each object has palpable weight, stands its ground, each has a definite thickness. A thick wall that reciprocally shields the darkness within, from the light without.
Glenn Adamson. Matters of Fact.
The containment of the body in death.
Existential
Clay Jug as an emblematic object full of billions of stars
Jackie Leven
There is something about clay that is elemental, prebiotic. Many creation myths refer to the forming of man from clay, its the stuff of the world we live in, its what we walk on. Taking that material which symbolises our origins and then making vessels to house the body, creates a wonderful kind of circularity.
Julian Stair. Quietus 2012.
Paul Soldner on Raku as a state of mind, a way of thinking, a way to continue to create with the pot after firing. Raku for me creates a way of living, not a technique but an attitude for life.
The intrinsic nature of the intimate contact with the pot continues to stimulate the potters response, the pot in its becoming is both a beginning and an end.
A distinguished Japanese potter, Mr Kawai of Kyoto, when asked how people are to recognize good work, answered simply, “with their bodies”.
Bernard Leach
A Potter's Book
Symbiotic Relationships
Atmospheres and Surrounding Objects
Peter Zumthor
Unknown Craftsman
Soetsu Yanagi
Put aside the desire to judge immediately, acquire the habit of just looking.
Do not treat the object as an object for the intellect.
Just be ready to receive passively without interposing yourself.
Outpost 270125
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In-Transit
The Complex Process of Knowledge Production.
The Narrative of Theoretical 'Unravelling'.
What Is An Artist?
Irit Rogoff. 2006
Robert Morris
Catalogue Entries.
Columns, 1961
Passageway, 1961
Box For Standing, 1961
Portals, 1961
Box With The Sound Of Its Own Making, 1961
Early Minimalism
Measurement, 1963
Imprints And Body Casts, 1963-64
Site, 1964
Leads, 1971
Felts, 1967-83
Dirt, 1968
Continuous Project Altered Daily, 1969
Observatory, 1971-77
Rubbings, 1972
INFRA-THIN
Sensations between objective knowledge, difference and truth.
Post-structuralism, A very Short Introduction.
Catherine Belsey.
The Architecture of Emergence.
The Evolution Of Form In Nature And Civilisation.
Michael Weinstock.
The Architecture Of Continuity.
Lars Spuybroek.
The Body.
The Lived Body.
The Flesh of Things
Donn Welton
Written On The Body.
The World and Other Stories.
Jennette Winterson.
Painting for Bacon was a visceral event a sensation, driven by emergent behaviours and phenomena.
Ceramic spatial inceptions with circulating totems.
Slab built, Stoneware. 2025
Tentative/Theoretical/Speculative Landing Sites.
Between Organism-Person-Environment and its Spatial/Architectural Body.
Preface.
Stefan Fichtel
Well-made animated information graphics are based on clear decisions about what matters and what should be left out.
Human Body/Indexical Trace on dot-matrix paper.
The Centrality of The Human Body to Architecture.
Undone/Assemblages of Concern.
Collage as the third aesthetic.
Ranciere argues for collage as 'third' aesthetic: it can combine two relations and play on the line of indiscernability, between forces of sense's legibility, and the force of non-sense's strangeness.
The Dark Monarch.
Magic and Modernity in British Art. 2010
The Bricoleur/sweeping the floor/movements in matter/spatial layering, thought in motion.
Embodying Emotion Sensing Space:
Introducing emotional geographies.
Joyce Davidson, Christine Milligan. 2004
Studio Floor Material.
The Artist's Reality
Philosophies of Art
Mark Rothko.
Culture, Creativity and Environment.
New Environmentalist Criticism.
Fiona Becket, Terry Gifford.
Ecology Without Nature.
Towards a Theory of Ecological Criticism.
Timothy Morton.
Visual Ecology
Transparency : Expressing the Unseen.
Transparency-the ability to see into and understand the inner workings of a landscape-is an absolutely essential ingredient to sustainability. In a world where more and more of the technology controlling our lives is not only beyond our individual control but is also invisible and incomprehensible to the average person, the landscape sreves not only as the foundation for our only genuine 'tangible' reality, but as the only mechanism by which we can really know where we are-and how and why as well. It can be argued that as humans we have a right to know where we are, how we are connected, and how we are doing.
Gray World, Green Heart.
Robert L. Thayer, Jr.
Julia Kristeva
Black Sun.
Depression and Melancholia.
Susan Sontag
Under the Sign of Saturn
After Hiroshima
elin o'Hara slavick
On Pictures and the words that fail them.
On An Image Of A Bottle
James Elkins
A Field Guide to Melancholy
Melancholy and The Landscape
Locating Sadness, memory and reflection in the landscape.
Jacky Bowring
Who Comes after the Subject?
The essays collected in this volume present the current research of nineteen contemporary French philosophers on one of the great motifs of modern philosophy: the critique or the deconstruction of subjectivity.
Eduardo Cadava, Peter Connor, Jean-Luc Nancy.
The Enchantment Of Modern Life.
Attachments, Crossings, and Ethics.
Jane Bennett
Ordinary Lives.
Studies in the Everyday.
Ben Highmore.
Everyday/Quotidian Aesthetics.
Ranciere is perhaps the contemporary writer most alive to the productive and necessary confusion between aesthetics as a general field describing the realm of sensate perception, and the more limited meaning relevant to the field of art that has taken shape in the West in the last two hundred or so years. And it is this confusion (a confusion that infuses both the general and the limited economy of aesthetics) that we can find the materials to help us build a quotidian aesthetics.
The Politics of Aesthetics.
The Distribution of the Sensible
Jacques Ranciere.
Emergent behaviours/phenomena to generate buildings.
Screen-shot CCTV.
Fire exit intervention WSA. 2008
The Centrality of the Human Body to Architecture.
Framing/Temporal Containment/Instances and Immediacies : Human Bodies/Spatial Bodies.
The 'exigencies' of the situation at hand.
Tim Ingold, MAKING.
Spatial Intelligence/Architectures
Abject (ion) Body and Matter in Process/Processual Relations.
IMMATERIAL / REPETITION / SINGULARITY
ENCLOSURES / ITERATIONS / THINKING FORMS
MINIMALIST SPACES / INTERVALS, tuning objects to construct environments
Mediating the experience of LANDSCAPE
SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION PIERCED DAPPLED NATURAL LIGHT
DIFFERENTIATED SHADOW / SURFACE
EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES INDEXICAL / GESTALT VISUAL PERCEPTION
NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY
Walking creates its own feedback loop, The Journey, The Return,
The specific, Here and Now
Psychogeography, Dossier, Forensic Study, Inquiry.
Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity
LANDSCAPES Constituted by creative practice
Walks as erasures, sedimentation, (Gardiner on painting)
Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,
Everyday aesthetics, heuristic practices.
RAVENINGHAM THEMES : Working Notes
New Futures for Architecture Leon van Schaik
Spatial intelligence builds our mental space. Sensing Spaces
Architecture Reimagined Oak-Framed Buildings. Rupert Newman
Heidegger for Architects
Adam Sharr
MAKING : ANTHROPOLOGY, ARCHAEOLOGY ART AND ARCHITECTURE
Tim Ingold
Touching objects, feeling materials
The Cathedral and the Laboratory
A Hut of One's Own
Anne Cline
Solar Pavilion
Alison and Peter Smithson Architecture is not made with the brain
The Parallel of Art and Life
Aesthetics about Perception Poetics about Production
HERZOG & DEMEURON NATURAL HISTORY
My studio is a piece of architecture that is silent. Speculative Architecture
On The Aesthetics of Herzog & De Meuron
The Thinking Hand
Existential and Embodied Wisdom in Architecture
Juhani Pallasmaa
The Architecture of Natural Light. Henry Plummer
Peter Zumthor
Hortus Conclusus Serpentine Gallery Pavilion
The Potentials of Spaces
The Theory and Practice of Scenography and Performance. Alison Oddey, Christine White
See Yourself Sensing Redefining Human Perception. Madeline Schwartzman
Collage and Architecture. Jennifer A. E. Shields
COLLAGE
Assembling Contemporary Art. Sally O'Reilly
Construction/Abstraction Body/Identity Environments/Geographies
Indexical
Absences
Actuality Immaterial Architectural Sensing Surfaces,
Textures
Dimensions, Sprays, Trace
Repetition, Empirical Experiences
Forms, Pavilion, Hut, Shelter, simple enclosure
Minimalist, tuning objects, sequences to construct/de-construct environments
Reflexive Surfaces into architectural presence
Art as indeterminate, able to arrest perceptions into different states/becomings
Site, undoing of place.
Gauze/Filtered Light/Phenomena
Gesture of the work, its situation,
Meshwork. The drawing grid, making of a proposition into space.
Cyan, Sky Blue, dappled light, membrane, responding to the weather/locality
AA Pavilion Project,
Its about learning through making, being involved in the process, the installation and its reception, dislocating contextual barriers.
Ephemeral Architectures, AA Document/Project, Prizeman
Immaterial Architecture : Waverley Pavilion Building The Drawing
The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.
Immaterial Architecture The Illegal Architect Jonathan Hill
Oak
Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather
Frosted Light
Index of immaterial architectures
TRANSPARENCY : LITERAL AND PHENOMENAL. Colin Rowe, Robert Slutzky
Interactions of the Abstract Body. Josiah McElheny
Object Lesson
Interactive Abstract Body (Square) The Spatial Body (After Fontana)
Tracing Eisenman
Stan Allen
Indexical Characters FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.
ANTI OBJECT Kengo Kuma
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. ReThinking Matereriality
The engagement of mind with the material world. Elizabeth DeMarrais, Chris Gosden. Colin Renfrew
The Affordances of Things
Towards a Theory of Material Engagement Aesthetics, Intelligence and Emotions Relationality of Mind and Matter
Material Agency
Towards a Non-Anthropocentric Approach. Carl Knappett, Lambros Malafouris
At The Potter's Wheel: An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.
The Neglected Networks of Material Agency : Artefacts, Pictures and Texts
Material Agency as Cognitive Scaffolding
The Cognitive Life of Things
Material Engagement and the Extended Mind. Lambros Malafouris, Colin Renfrew
Minds, Things and Materiality. Michael Wheeler
Communities of Things and Objects : A Spatial Perspective Carl Knappett
Imagining the Cognitive Life of Things. Edwin Hutchins
Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts. Charles Goodwin
Land Forms/Architectures from marking movement.
Clay, Greenware. Studio Space.
Orange School Graph Books
Harleston 2020-2021
https://www.flickr.com/photos/russellmoreton/
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A Species of Spaces
The Social Turn
Museum Site and Display
Political Philosophy
Makers work in a world that does not stand still
Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations
Tim Ingold 2010
The social life of making
Making speaks in vivid dialogue with two associated themes, material and skill
Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve
Making becomes a process of iteration, and a maker works with this iteration prolifically
Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force
Vibrant Matter, A Political Ecology of Things
Jane Bennett 2010
Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds
Tim Ingold 2010
New Urban Adventures in Collaboration/Conceptual Ceramics
Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay
The transformation of the material is a central concern and semiotic significance unfolds with making
Seeking a symbiotic relationship between idea and object
Materials are substances in becoming
Karen Barad
Towards an Ecology of Materials
Tim Ingold 2012
From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis
Materials-Centered Perspective
Making, almost defies precise definition
The composition and/or manipulation of materials that bring into being new or revised objects
Tim Ingold 2010
Cultures of thrift and scavenging, maintenance and repair
Making encompasses the ingenuity of fluid, locally situated and adapted technologies
Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them
Sensibilities and dispositions that are centred on a deep and considered relationship with materials
The Craftsman, Richard Sennett 2008
Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers
Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate
Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability
The emergence of the museum as proactive laboratory of social evolution
Extradisciplinary Investigations/Operative Principle
At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice
Microtopias, small contained sites of functioning democracy
Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline
The New Institutional Practice
Projective Enterprises (should unsettle, activate, and raise questions)
The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary
So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes
Site-Specific Art and Locational Identity
Miwon Kwon 2002
Collaborations and its Discontents
Claire Bishop 2006
The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions
A complex environment, awash in affect and subjectivity
When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour
New curatorial initiatives must unpack the terminologies we use to distinguish one project from another
A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives
Unsettling-Complicit
Provocative-Strategic
Interventionist-Collaborative
Perforative Curating/Prescribed Participation
Creating new/more coded patterns of behavior/conventions/role play for visitor's
New Institionalism and the Exhibition As Situation/Social Experiment
Claire Doherty 2006
Participation
In which people constitute the central artistic medium and material
In the manner of theatre and performance
Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it
The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations
The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end
Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries
Artificial Hells (exposing the political and aesthetic limitations in the work)
Participatory Art and the Politics of Spectatorship
Claire Bishop 2011
Site-Specificity/Spatial Practice
The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate
Miwon Kwon 1997
Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames
Participation, creating a bridge between socially engaged practice and the permanent collection
Expressing itself expressing
Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions
Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact
The strategy of making artworks as response
The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement
Making vessels, beyond the examining and intellectually impoverished questions
A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside
Few boundaries are impenetrable
They are rather, semi-permeable membranes providing housing while allowing selective commerce
Like the vessel, the house shapes and nurtures the life contained inside
The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community
In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others
Clare Twomey, Lead artist at Tate Exchange 2017
Post Studio Ceramics
Interfaces between Making-Makers-Museums
Exploring object engagement beyond the known historical models of clay practice
'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital
Clare Twomey
Ceramics In The Environment
An International Review
Janet Mansfield 2005
With Fire, Richard Hirsch
A Life Between Chance and Design (invites the unknown)
Scott Meyer 2012
Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility
Raku as an Ideology
Breath-Energy-Immanence
Raku, A Review of Contemporary Work
Tim Andrews 1994
The Poetry of The Vessel
A calm invitation to thought and imagination
Chris Tyler
The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world
Arte Povera/Germano Celant, an aesthetic-philosophical movement
An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen
