Architectural Body/An organism that persons

Organism, Person, Environment : Madeline Gins and Arakawa

You cannot see me from where I look at myself

Francesca Woodman

Therefore the idea of the human body is composed of the many ideas of the component parts.

The idea which  constitutes the formal being  of the human mind is the idea of the body, which is composed of many indi­viduals,  each  composed  of many  parts.

(Ethics, Part II, Proposition XV, Proof)

Camouflage : Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming

Mimesis : Paradox or Encounter. Jane Bennett

Yet,  freed  from the block, the relations between her and everything which was not her had changed. An absolute yet invisible change. She was now the centre of what surrounded her. All that was not her made space for her.

Where there are no  words, knowledge comes through  physical acts and  through  the space through which those acts are made; by permitting each act the space conferred  meaning  upon  it and  no  further meaning  was necessary.

John Berger

We sense and experience that we are eternal. For the mind no less senses those things which it conceives in understanding than those which it has in the memory. For the eyes of the mind by which it sees things and observes them are proofs. So although we do not remember that we existed before the body, we sense nevertheless that our mind in so far as it involves the essence of the body under a species of eternity is eternal and its existence cannot be defined by time or explained by duration.

(Spinoza, Ethics, Part V, Proposition XXIII)

Situatedness is a theoretical position that posits that the mind is ontologically and functionally intertwined within environmental, social, and cultural factors. As such, psychological functions are best understood as constituted by the close coupling between the agent and the environment.

Mimesis : Paradox or Encounter

Jane Bennett. 2018

Everything changes. It is not that everything is always at the precipice of dissolution, but that every thing is changing in relations with oth­ers—at speeds that are sometimes slow and gradual and sometimes fast and overwhelming. This is the fate of mimetic bodies, human or not.

Every act of artistic mimesis will differ from all blueprints and inspirational ideas and  dreams,  insofar as the creative process always differs from itself as it proceeds. Process or new materialist philosophy also  rejects—or perhaps the better verb  here is elides—the model of the autonomous human  agent,  highlighting  instead  the vibrancy  and effectivity of nonhuman bodies, forces, and flows and the ways in which human agency is itself enabled and constrained by them.

Amorphous Photography : Star Trails/Pylon : Hybrid Musical Sources

Side C

10. Sola Gratia (Part 2)- Jozef Van Wissem et SQURL

Indexical Patterning/Painting : Affective Relational Intensities

Micropolitics of slowness and repetition

Pattern and Chaos/Liminality/Tectonics

Architectural surface for a Library,  raw materials, light, silence and solitude.

We are not in the presence of a passively representative image, but a vector of subjectivation.

Guattari, 1995 :25

Vessels that resist unbeing made

Slow Philosophy/Discursive Attachments : Gathering Materials/Objects/Things

Research as a discursive activity gathering new forms of expression.

Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one’s being is provisional; it is a circumstance with an adopted aim for the time being.

SPACE-and ARCHITECTURE-exceeds the provisional

The Enchantment of Modern Life.

Attachments, Crossing and Ethics

The performativity of social representations

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Be not inhospitable to strangers

lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate

David Childers, Heart In My Soul

Collage Works : Architectural Studies. Outpost Studios, Norwich.

Studio Works : Praxis between theory and practice. Outpost 2020.

Outpost Studios Norwich, collage, textual, intermedia,

spatial practice, resource, project space, art practice, research, book works

Architectural Inquiry : Metaphysical Surfaces

Blue Spaces Of Everyday Enchantments : White Absences #2. Silence/Void : Gap/Reveal

Slow Philosophy : Materials/Objects/Things

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : ‘everything may be something, but being something is always on the way to becoming something else’

Tim Ingold 2011

Materials, Tim Ingold, slow philosophy, studio works, textile, clay, painting, yellow ochre

New works around fired clay, painting, wrapping forms, metal, textiles and stones.

Architectural research for a library within a studio.

clay, textile, wrapping, painting, natural objects,

photographic surface, asperity, poetics of process, studio

Palimpsest/Surface Sprays : Spaces Between Objects

Site based inquiry for sculpture trail at Raveningham

collage, research, spatiality, art practice, alternative photography,

drawing, architectural, intervention, visual fine art, craft

studio, metaphysical space, collage, Palimpsest, Cristina Iglesias, Steven Holl, Jackie Leven, Tim Ingold, Julian Stair, drawing, sprays, Jane Bennett, Russell Moreton, Lucio Fontana,

Collage : Diversions, Contradictions and Anomalies.

Body : Personal Relations and Spatial Values

Reading : Slow Philosophy

Collage’s integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O’Reilly

THE PERSPECTIVE OF EXPERIENCE

Yi-Fu Tuan

1959 : Patti Smith

Peace and Noise

Lingering at the threshold between word and image

Cy Twombly

Claire Daigle

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation

Research Material
Photographic Drawings

PETER ZUMTHOR ATMOSPHERES

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

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

On the nature of photography

Alternative Photographic Processes

MOLECULAR SIEVE, is a performative analysis of “this place” utilising the simple properties of the pinhole camera. This appropriated apparatus makes visible the extrusive nature of time as it is deposited on the photographic surface. The extended durations required to register “place” impart a sense of dwelling as recorded by the apparatuses passive gaze. These surfaces record and register a relation constructed by the architecture of the chamber and what is beyond it. Movements when visible appear as simple abbreviated enactments caught like inclusions within this consolidated and timely consolation of place.

Contexts:

Community , Conference / Symposium , Socially Engaged

Artforms:

Performance , Architecture , Photography , Installation

Tags:

10 Days Winchester, pinhole photography, creative arts research,

spatial practices, social apparatuses, event, fallow site

Film based inquiry into analogue based darkroom processes and timed intervals of exposures.

Work staged within the initial developing spaces for 10 days in the laundry, Winchester.

Contexts:

Community , Public art

Artforms:

Performance , Installation , Photography

Tags:

10 Days in the Laundry, Winchester, fallow site, analogue, pinhole camera, daylight, interior, semblances, exploratory, documentation, agency

Camera obscura

Liquid Light Emulsion

Photograms

Analogue and Digital Hybrid Printing

Cyanotypes

Pinhole Cameras

alternative photographic processes, liquid light, photograms,

textual, light writing, collage, experimental, analogue, filmic,

KONTAKTE : THESE MACHINES

Alternative photographic photograms and collages for the CD artwork

to promote the ambient music of Kontakte.

Limited edition CD artwork, and booklet.

Contexts:

Commission , Design , Public art

Artforms:

Book works , Illustration , Photography

Tags:

KONTAKTE, ambient music, CD artwork, alternative photography, photograms, collage, These Machines, Nuclear Winter

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

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, cyanotype, alternative printing processes, light drawings,

precision and indeterminacy, human form, ecology,

environments, contemporary art practice

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence

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

Procedural Architecture/Architectural Body

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins,

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably – in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential – and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists,

Hyde Writers, collaborations. visual art, poetry

 Intermezzo : Nomadic Photographic Assemblage

What is philosophy/Deleuze, Guattari

a thousand plateaus

Deleuze, Guattari

Assemblage

Becoming

Body Without Organs

Nomad

Rhizome

Smooth Space

State

War Machine

The Uberficiation of the University

BY MARK CARRIGAN ON NOVEMBER 22, 2016

A fascinating short book by Gary Hall, available open access at the Coventry University repository:

The Sharing Economy

Platform Capitalism

Uber.edu

The Reputation Economy

The Microentrepreneur of the Self

The Para-academic

The Artrepreneur

Affirmative Disruption

The unfolded garment and other spatial concepts

The Unfolded Garment

Embracing Subjectivity

Pierced Assemblage on Photogram

Espace-Milieu, Winchester Cathedral.

Painting evolved from Space for Peace, Winchester Cathedral. Site drawing from architectural plan and documentation of people moving within the event.

aerial, cathedral, cyanotype, public gathering,

spatial mapping, palimpsest, drawing, lightness

What is Philosophy?

Gilles Deleuze, Felix Guattari

Their book is a profound and careful interrogation of what it might mean to be a ‘friend of wisdom’, but it is also a devastating attack on the sterility of what has become, when ‘the only events are exhibitions and the only concepts are products which can be sold’. Philosophy, they insist, is not contemplation, reflection or communication, but the creation of concepts

Grisaille Patterning : Translucency/Paintings for a Luminous Philosophy

Painting and Mapping/Choreutics : The luminous

Palimpsest/Making Spaces through movements  and atomized materials

Grisaille Patterning : Redundancies making spaces between objects

Gilles Deleuze’s Luminous Philosophy : Hanjo Berressem

Spinoza :Practical Philosophy, Gilles Deleuze

Drawing into painting, paintings/environs in the company of philosophy

Painting as explorative material sites (aporias/difficult futures) between the discursive and the practical.

The discursive investigates and reconfigures further temporal propositions and contingences, it draws its subject beyond its ordered description and context of relations.

Architectural painting for glass exploring slowness and repetition.

Surface depths, an intermingling on the cusp of a speculative un-knowing

patterning, architectural, surface, design, painting,

translucency, lightness, silence, reading room

An Anthropology of Landscape

Christopher Tilley

Kate Cameron-Daum

Spirituality in Contemporary Art

The Idea Of The Numinous

Jingu Yoon

New Global Ecologies

Baratunde Thurston

The Rooms

To Love Is To Live

Jehnny Beth

lightness, luminosity, fluid, hybrid media, material,

asperity, field, gesso, molochite, yellow ochre

Baratunde Thurston, Hanjo Berressem, Kate Cameron-Daum, Spinoza, philosophy, painting, numinous, An Anthropology of Landscape, luminosity, Gilles Deleuze, Jingu Yoon, Grisaille, Russell Moreton, Christopher Tilley,