Russell Moreton : Matter(s) in Correspondence

Architectonic Space: Fifteen Lessons on the Disposition of the Human Habitat

By Hans van der Laan

http://www.vanderlaanstichting.nl/en/home/

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

The aesthetic/vibrant spaces between objects

Collected Notes : Raveningham Sculpture Trail 2020

Walking underneath, through, passing by,

… are all laid out in different moments in time.

Dom Hans van der Laan

ODYSSEY Aesthetic Intervals/Timbre/Traces

Studio Blackboard

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces

Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks

 Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,

Wood, Lead, Nails

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things

The poetics of order:

Dom Hans van der Laan’s architectonic space
Caroline Voet

Already in his first writings in the 1930s, Dom van der Laan aims to define architectural principles that provide an intellectual expression of the act of dwelling (‘wonen’). To dwell is to enter into a relationship with one’s surroundings, meaning to understand them. For van der Laan, this is the primordial function of architecture: it makes space readable. From his Benedictine background, he draws concepts that enable him to understand this complex process of cognition. He studies the old church fathers such as St Thomas Aquinas, especially his comments on Plato and Aristotle. The Benedictine way of life builds upon the intertwined relation between mystery and matter, between intellect and senses, believing that this relation can be expressed through a Platonic order.5 Professor van Hooff, in describing the work of Dom van der Laan, defines cognition as a dual process of synthesis and analysis.6 On the one hand, there is the act of living, a synthesis of the concrete and singular reality. On the other hand, there is the process of analysis by the abstracting intellect. For us to know the concrete and singular reality, an intense interrelation between the two processes is needed.

http://www.vanderlaanstichting.nl/pics/pdf/130105-poetics_of_order-Caroline_Voet.pdf

 Assemblage : Apparatus/Diffraction

“There are no simple concepts. Every concept has components and is defined by them.

It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity

is conceptual…

Not only do Descartes, Hegel, and Feuerbach not begin

with the same concept,

they do not have the same concept of beginning…

Every concept has an irregular

contour defined by the sum of its components,

which is why,

from Plato to Bergson,

we find

the idea of the concept being a

matter of articulation,

of cutting and

cross-cutting.

The concept is a whole because it totalizes

its components, but it is

a fragmentary whole.

Only on this condition can it escape the

mental chaos

constantly threatening it, stalking it, trying to reabsorb it.”

— Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.

Assemblage (Wilcox)

As opposed to concepts like structure, culture, science, objectivity, production, agency, technology, and nature, the idea of assemblage emphasizes the material-discursive heterogeneity of which the cosmos is constituted. As Deleuze explains:

In assemblages you find states of things, bodies, various combinations of bodies, hodgepodges; but you also find utterances, modes of expression, and whole regimes of signs. The relations between the two are pretty complex. For example, a society is defined not by productive forces and ideology, but by ‘hodgepodges’ and ‘verdicts.’ [i]

Fortun and Bernstein (1998) use the term “realitty” to describe the complex, messy world made up of assemblages and trace the genealogy of the concept throughout the twentieth century’s continental philosophical traditions. Beginning with Frankfurt School critical theorists like Walker Benjamin and Theodor Adorno, who coined the term “constellation,” and moving through Foucault and Deleuze, Fortun and Bernstein characterize the concept of the assemblage thus:

In an assemblage, nothing explains it all: not the sciences, not the social sciences, not the human sciences. There isn’t anything that is first or fundamental in an assemblage—nature, language, culture, institutions, whatever—it’s all at once, and we with our questions come after it. Meaning that we are both assembled by it, and in pursuit of it. Even though we’re consigned to come after the assemblage has been assembled, both with and without our intentionality, that doesn’t stop us from going after it, too.[ii]

https://conceptsinsts.wikispaces.com/Assemblage+%28Wilcox%29

Assemblage (Weiss)

(Disambiguation: Assemblage (Wilcox))

The assemblage is introduced as a heuristic tool to map out the realitty of an idea: the conceptual connections surrounding and contributing to the formation of a topic, such as Darwin’s theory of evolution. The primary source text for this idea is Muddling Through by Fortun and Bernstein.

There are four general characteristics of assemblages:

1) Assemblages are a kind of infrastructure (1, 2) – “a complex, crazily reticulated transportation system” (105) – that, like roadways, facilitate (conceptual) movement in certain directions while constraining movement in other ways.

2) Despite the constraining nature of assemblages, they still allow for some elements of power and agency to be exercised. If you have the ability, granted by some modes of thinking, to go “off-road” or to start a new chain of self-organizing “roadwork”, then you are able to recoup more agency in choosing which direction to think in. (105)

3) An assemblage is always in some type of restricted motion as various nodes are afforded slight shifting within the constraints of their linkages. “The lobster form is not entirely whimsical, but a deliberate reminder that the sciences are in motion and, indeed, composed of linked motions.” (106) Stabilization is possible in small regions of an assemblage through stronger interconnections made between nodes of institutions, concepts, and activities, such as those found in the sciences. It is important to recognize that this stabilization effect comes not from reality, but from realitty, the social elements that contribute to a sense of fact or truth. This movement also emphasizes that visual representations are “diagrams of contingency” – the elements are all interdependent upon connections to other elements and that shifts in force or direction will transfer across the diagram, sometimes in indirect ways. (107)

4) The representation of an assemblage is itself a kludged tool to aid our understanding of and inquiry into scientific activities. Rather than providing answers or hard-and-fast explanations, assemblages are meant to provoke questions and to open up possibilities in thinking about events and topics in new ways.

https://conceptsinsts.wikispaces.com/Assemblage+(Weiss)

Agential Realism

A theory coined by Karen Barad, agential realism reconceptualizes the process by which objects are examined and knowledge created in scientific activities. Barad emphasizes that agential realism is not just an epistemological theory, but an ontological one, as it describes how reality is actually shaped.

” [Agential realism] is an epistemological and ontological framework that extends Bohr’s insights and takes as its central concerns the nature of materiality, the relationship between the material and the discursive, the nature of “nature” and of “culture” and the relationship between them, the nature of agency, and the effects of boundary, including the nature of exclusions that accompany boundary projects.

Agential realism entails a reformulation of both of its terms – “agency” and “realism” – and provides an understanding of the role of human and nonhuman factors in the production of knowledge, thereby moving considerations of epistemic practices beyond the traditional realism versus social constructivism debates.” (89)

Agency, according to Barad, “is a matter of intra-acting; it is an enactment, not something that someone or something has.” (112)

Niels Bohr’s Quantum Physics

“Bohr’s epistemology calls into question several foundationalist assumptions that Western epistemology generally takes as essential to its project; among these are an inherent subject/object distinction and the representational status of language.” (89)

Influential in the development of agential realism was Niels Bohr, a quantum physicist who asserted that observing apparatuses are not merely passive instruments, but things that participate in the formulation of scientific observation. He also resolved the “wave-particle” duality paradox (97) by positing that the paradox existed because the methods used by scientists to measure light as a wave versus as a particle were mutually exclusive.

By granting apparatuses a more active role in the production of knowledge, Bohr challenged the separateness of observer and object by referring to “objects of observation” and “agencies of observation”.

“[T]his interaction between object and apparatus thus forms an inseparable part of the phenomenon.” (95)

Apparatus

“[A]pparatuses are specific material reconfigurings of the world that do not merely emerge in time but iteratively reconfigure space-timematter as part of the ongoing dynamism of becoming.”

“…apparatuses are not mere instruments or devices that can be deployed as neutral probes of the natural world, or determining structures of a social nature, but neither are they merely laboratory instruments or social forces that function in a performative mode.”

Barad uses the example of the transducer in a sonogram machine that is used to “view” a fetus:

“the transducer does not allow us to peer innocently at the fetus, nor does it simply offer constraints on what we can see; rather, it helps produce and is “part of” the body it images.” (101)

A transducer in a sonogram is not merely a passive instrument; it actively participates in the production of an image of a fetus, both in how it transforms auditory input (sound waves) into visual outputs on a screen, but also in how it makes the fetus seem to be more real and existent than it would have been without.

Diffraction

Another key idea behind agential realism is Barad’s emphasis on a transformative and transgressive diffraction, not just reproducing reflection:

“In this regard, it is important not to confuse the fact that I am drawing on an optical phenomenon for my inspiration in developing certain aspects of my methodological approach … with the nature of the method itself. In particular, calling a method ‘diffractive’ in analogy with the physical phenomenon of diffraction does not imply that the method itself is analogical. On the contrary, my aim is to disrupt the widespread reliance on an existing optical metaphor – namely, reflection – that is set up to look for homologies and analogies between separate entities. By contrast, diffraction, as I argue, does not concern homologies but attends to specific material entanglements.” (87)

Again, Barad’s posthumanist expansion of performativity to include nonhumans comes into play:

“I propose a posthumanist performative approach to understanding technoscientific and other naturalcultural practices that specifically acknowledges and takes account of matter’s dynamism. The move toward performative alternatives to representationalism shifts the focus from questions of correspondence between descriptions and reality to matters of practices, doings, and actions.” (135)

Barad clarifies that her posthumanism is not celebrating “after humans”, but more challenging the prima facie segregation and privileging of humans over and from other beings:

“Posthumanism, as I intend it here, is not calibrated to the human; on the contrary, it is about taking issue with human exceptionalism while being accountable for the role we play in the differential constitution and differential positioning of the human among other creatures (both living and nonliving)” (136)

Hearkening back to her physics roots, Barad compares the conceptual diffraction to optical diffraction versus reflection, explaining that diffraction allows for more insight because it transforms (conceptual) images:

“Such an approach also brings to the forefront important questions of ontology, materiality, and agency, which social constructivist and traditional realist approaches get caught up in the geometrical optics of reflection where, much like the infinite play of images between two facing mirrors, the epistemological gets bounced back and forth, but nothing more is seen.

Moving away from the representationalist trap of geometrical optics, I shift the focus to physical optics, to questions of diffraction rather than reflection. Diffractively reading the insights of poststructuralist theory, science studies, and physics through one another entails thinking the cultural and the natural together in illuminating ways.” (135)

This diffraction challenges the singularity and solidity of boundaries, making what was sharply delineated a zone of fuzzy regions that have questionable divisions held in place by iterative performativity:

https://conceptsinsts.wikispaces.com/Agential+Realism+%28Weiss%29

In the backyard of where she was living, Cline once decided to build a hut inspired by Kakuzo Okakura’s The Book of Tea.

As my dwelling took shape, it began to shape my life as well. And when I sat inside reading the recluse poets, the terse simplicity of their record framed my own perception, one I likened to a camera recording a world of pure experience.

The hut has a sense of immediacy that no room-filled house can achieve. The hut focuses its dweller on immediacy and meaning fulness. “I had found the commodity of my dwelling through the poetry of its use,” Cline concludes.

The hut addresses the core of ritual as a part of nature versus the supposed freedom of modernist thought and the architectural contrivances it pursues. The hut represents the convergence of ritual and naturalness, at the same time addressing cultural issues and practices.

With an agility larger structures can never match, huts bring together the physical environment with such disparate aspects of culture as necessity, fantasy, faith, and “life-style.” The hut, then, may be humankind’s supreme experiment.

This may seem a bold conclusion given the modesty of the hut throughout history, and the modest ambitions of its makers, but this is Cline’s point, that the experiment in solitude and simplicity is bolder than any social or culturally-sanctioned experiments or projects, simply because the latter are contrived and unnatural, even anti­ natural.

https://www.hermitary.com/bookreviews/cline.html

Then the days of working at home on it. The image in my head was often clearer than the one on the paper. I redrew and redrew. The paper became grey  with  alterations and  cancelations.  The drawing didn’t get better, but gradually she, about to stand up, was more insistently there.

The effort of my  corrections and  the endurance of the paper have begun  to resemble the resilience of Maria’s own body. The surface of the drawing – its skin, not its image — make me think of how there are moments when a dancer can make your hairs stand on end.

We who  draw do  so  not only  to  make something  observed visible to others, but also to accompany something invisible to its incalculable destination.

The bodies of dancers with their kind of devotion are dual. And this is visible whatever they are doing. A kind of Uncertainty Principle determines them; instead of being alternately particle and wave, their bodies are alternately giver and gift.

They know their own bodies in such a penetrating way that they can be within them, or before them and beyond them. And this alternates,  sometimes changing  every  few seconds,  some­ times every few minutes.

The duality  of each  body  is what allows them,  when  they perform,  to  merge into  a single entity.  They  lean  against,  lift, carry, roll over, separate from, co-join, buttress each other so that two or three bodies become a single dwelling, like a living cell is a dwelling for its molecules and messengers, or a forest for its animals.

The same duality  explains why  they  are as much  intrigued by falling as by leaping, and why the ground challenges them as much as the air.

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