The Drowned World, JG Ballard.

Blueprints : Anthropological Forms
Botanical traces with leper graves

DSC_0205 Archipelagic

DSC_0250 Architectural Blueprint

Biosphere (Ecology and Entropy) 2012.

 OPEN TEXTS.

Allow readers to have multiple interpretations, they allow for the possibility of  “determinations”.

Intertextuality fundamental concept “that no text much as it might like to appear so, is original and unique in itself. Rather it is a tissue of the inevitable , and to an extent unwittingly references to and quotation from other texts.”

SELECTED BIBLIOGRAPHY AND REFERENCES

Edward S. Casey, The Fate of Place (Berkley: University of California Press, 1998 )

Juhani Pallasmaa, Eyes of the Skin, Architecture and the Senses (Chichester: Wiley, 2005 )

Peter Greenaway, The Physical Self (Rotterdam: Boymans-van Beuningen Museum, 1992)

Henri Lefebvre, The Production of Space (Oxford: Blackwell, 2000)

J. G. Ballard, High Rise (London: Jonathan Cape, 1967)

David Wood, The Deconstruction of Time (Evanston: Northwestern University Press, 2001 )

Ian Buchanan, Deleuze and Space (Edinburgh: Edinburgh University Press, 2006)

Vilem Flusser, Towards a Philosophy of Photography (London: Reaktion, 2000 )

Robert Cooper, Peripheral Vision: Relationality (London: Sage Publishing, 2005)

Jonathan Murdoch, Post Structuralist Geography ( London: Sage Publishing, 2006)

Markus Miessen, Did Someone Say Participate, an atlas of Spatial Practice (Cambridge, Massachusetts: MIT Press, 2006)

Russell Ferguson, Francis Alys, Politics of Rehearsal (Los Angeles: Hammer Museum, 2008)

Elizabeth Grosz, Space, Time, and Perversion (London: Routledge, 1996)

Tracey Wan, The Artists Body (London: Phaidon Press, 2000)

Francois Dagonet, Etienne-jules Marey: a passion for the trace ( New York: Zonebooks, 1992 )

Colin Rowe, Transparency ( Basel: Birkhauser, 1997)

Avis Newman, The Stage of Drawing, Gesture and Act (London: The Tate Drawing Centre, 2001)

Giuseppe Penone, The Eroded Steps (Halifax: HMST, 1989)

Glen Onwin, The Recovery of dissolved substances ( Halifax: HMST, 1992)

Carolyn Bakargiev, Arte Povera (London: Phaiden Press, 2003)

David Green, Stillness and Time, Photography and the moving image ( Brighton: Photoworks, 2006)

Catherine Lupton, Chris Marker, memories of the future (London: Reaktion, 2004 )

Martin Amis, Times Arrow (London: Jonathan Cape, 1991)

Yve Lomax, Sounding the Event: escapades in the dialogue and matters of art, nature and time (London: I. B. Tauris, 2005 )

John Wood, The Virtual Embodied, presence, practice, technology (London: Routledge, 1998)

Lucy Bullivant, Responsive Environments, Architecture Art and Design { London: V&A, 2005)

Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994)

Italo Calvino, Six Memos for the next millennium (London: Jonathan Cape, 1992)

Douwe Draaisma Metaphors of Memory (Cambridge: Cambridge University Press, 2000)

Paul St George, Sequences: Contemporary chronophotography and experimental digital art ( London: Wallflower, 2008)

Hans Christian von Baeyer Information, The new language of Science (London: Weidenfeld and Nicolson, 2003)

Andrey Tarkovsky, Sculpting in Time (Austin: University of Texas Press, 1986)

Susan Broadhurst, Liminal Acts ,a critical review of contemporary performance and theory ( London: Cassell, 1999)

Eduardo Cadava, Words of Light (New Jersey: Princetown University Press, 1997)

Giuliana Bruno, Public Intimacy ( London: MIT press, 2007 )

Jeanette Winterson, Written on the body (London: Jonathan Cape, 1992)

Jane Rendell, Art and Architecture, a place between (London: I. B. Tauris, 2006 )

Thierry de Duve, The Definitively unfinished Marcel Duchamp ( Cambridge, mass: MIT Press, 1991 )

Always fascinated by the “return shelves” in a library, its like a barometer of specific activity, it holds within it occurrences and possibilities that are un-calculable to predict It concurs traits of other events/projects happening outside, it reflects those items of the libraries resource have been selected and those not. It is perhaps the curiosity, the reading between what is presented that prompts speculation and ultimately one forms/registers a subjectivity and an opinion based around ones own particular space of time. These shelves “sample” my potentialities amid a on-going field of relations of which I am part as my “returns” configure a new abstraction of data.

RESEARCH METHODOLOGIES:

Fluctuating networks of existential events.

Emergent state of continguences that create materials for relationality.

TRANSPARENCY: LITERAL AND PHENOMENAL. COLIN ROWE AND ROBERT SLUTZKY.

Space-time, simultaneity, interpenetration, superimposition, ambivalence. Transparency has a material condition that is pervious to light and air. Together with an “intellectual imperative” this has an “inherent demand for that which should de easily detected, perfectly evident, and free from dissimulation.”1 Transparency allows things to interpenetrate. Things can become masked and ambivalent by this superimposition but the things themselves remain authentic and unabridged.

Transparency can grant us a “simultaneous perception of different spatial locations.” These values of being able to interpenetrate simultaneously and thus create a potential threshold that is in a state of in-betweeness.

Transparency by its very nature confronts us with the contradiction of spatial dimensions. Contradictions that might require the physicality of the body to authenticate. There are also Contradictions centred on a linguistic transparency.

Transparency could become a site or form of temporal phenomena, granting some sort of deconstruction when viewed as a simultaneous multiplicity.

The interesting proprieties of transparency is its ability to have the quality of a substance ( glass, plastics, film, water) together with qualities we ascribe to it when we use it in the context of organisational systems. It is this literal and phenomenal spatiality that is infinitely relational. This relation allows us to invest transparency with a literal depth so as we can assume the phenomenal substance beyond it.

This sense of a spatial transparency is exploited as a filmic phenomenon, film directors by moving in and out of the framic reference of the camera, create within the mind of the viewer an illusion of a spatiality that is both transparent and virtual.

The use of transparency as a device to aid the spatial organisation of place in architecture is under investigation. Notions that “worksites” could be “assigned directional systems” which could help to engender relations of human enterprise and encounter.

The organizational transparency of the figure ground relation in architectural mapping creates a differentiation to the integral ordering of space. This opens up the possibilities of investigative ideas around poche (a drawing method showing material structure and space in relation to each other) poche is related to transparency by precise inversion (material and space).

Transparency can be used as a method of creating multiplicities through the device of superimposition.In so doing it creates surfaces that have mutuality by the nature of being able to be visually overwritten.

1.Colin Rowe and Robert Slutzky, Transparency: Literal and Phenomenal (Berlin: Birkhauser Basel, 1998),page 22.

ALLEGORY, MONTAGE AND DIALECTICAL IMAGE, JANE RENDELL.

This chapter, in Jane Rendell’s Art and Architecture, A Place Between, offers a number of possibilities for the interpretation of my current investigative research. In particular, her analysis of Walter Benjamin’s discussion on the temporal aspects of allegorical and montage techniques in works of art.1

Rendell cites Benjamin’s The Origin of German Tragic Drama,2 as having a particular form of a baroque theatre, where the temporal, and the corporeal body, meet the transcendental. Within the structure of these there plays a sadness of life represented as a “nature petrified in the form of fragments of death.”3

This notion of using objects as allegorical devices within the duration and place of an event, interests me.

This allegorical device within “Place” is further elaborated by Benjamin himself when he remarks, “allegories are, in the realm of thoughts, what ruins are in the realm of things”.4

This relationship with time and allegory could be performative and immersive. Benjamin notes baroque allegory to be “an appreciation of the transience of things, as well as an expression of sadness over the futility of attempting to save for eternity those things that are transient.”5 This expression could be rendered as a work of art. Joseph Beuys has used the device of vitrines that suggest the collection of relics from a museum. His work Sweeping Up 1972/85 is a vitrine containing contents originated from an “action” performed by Beuys. In this work the contents were collected after a political parade in Berlin. This work, on view in Tate Modem, has a sensibility of indexical residues suffused with almost alchemeric properties. The notion of a vitrine being able to carry a visual joke or pun is perhaps Duchampian. Peter Greenaway’s curated exhibition, The Physical Self6 explores these notions further, through static displays of both objects and human bodies presented in the context of a museum. Greenaway has in effect, attempted to use a museum setting to amplify the sense of retrospectective contemplation of our own temporality.

Rendell remarks on Benjamin’s interest in the dialectical image, explained as an image whose “moment where the past is recognized in the present as a ruin that was once desired.”7 The interesting thing is that Benjamin’s dialectical image is an “attempt to capture dialectical contradiction in an instant, as a visual image or object.”8 It is this dialectical threshold the “point at which thesis and antithesis converged”9 that could be utilized as a physical possibility (intervention) within a place. The clarification of ideas through interactions and contradictions through a performative exploration with an immersion with site might be made to occur. The uses, as noted by Rendell, of montage and Dadaist artwork in film, was admired by Benjamin for its shock tactics and are also  associative with the notion of interventions whose purpose is to “interrupt the context into which it is inserted.”10 This idea of an intervention, could work as an emergent phenomena that sets up a sense of temporal dynamics in a location or place.

A number of contemporary artists have used a wide range of physical interventions with their particular dialogues with place. Jane Prophets, Conductor 2000 was a site specific response to Wapping Hydraulic Pumping station. Prophet utilized water and electro luminescent cables in her installation. Glen Onwins, As Above So Below 1991, was again a site specific intervention, utilizing black and white dyed brine, gypsum and coal with green light, all installed at Square Chapel, Halifax. Graham Gussin, Spill 1999, was a filmic work of a situation in which a disused commercial building was infiltrated by “fog” (dry ice).

The architect Rem Koolhaas has used an intervention device in the initial design, which produces an architectural structure that is inherently “weak”, then requiring a major structural intervention to be made to stabilize the building. This in turn re-scripts the building through chance and change and produces innovative and creative possibilities through contingences now made apparent.

To bring about some sense of conclusion regarding Benjamin’s dialectical image or rather its device of using “dialectics at a standstill” that create an intervention of retrospective contemplation, is Jane Rendell’s suggestion, taken from Howard Caygill, that Benjamin’s writing was part of the “speculative effort to discover and invent new forms.”11 This speculative nature promotes “moments where the viewer is required to act as critic and to engage in a slower time.”12 The interlocutor into a site could be said to be given the dialectical task of synthesizing/theorizing what has been “present”, with what has become emergent with their own encounter .This notion of both site specificity and open text is of interest.

Further potentials within “place” for an immersive engagement that might foster an “open reading”. This scripting of ones presence as an interlocutor amongst others could create a performative gesture. Like a drawing whose informative mark is just a starting point amongst others unknowable until the intimacy of the unfamiliar is breached, so the “place “ is inscribed or known by its initial un-familiarity.

1  .Jane Rendell, Art and Architecture: A place Between (London: I. B. Tauris,2006), page75.

2  .Benjamin, Origin of German Tragic Drama, translated by John Osborne (London: Verso, 1977).

3  .Ibid., page 178.

4  .Ibid., page 178.

5  .Benjamin, Origin of German Tragic Drama, translated by John Osborne (London: Verso, 1977),page223.

6  .Peter Greenaway, The Physical Self (Rotterdam: Museum Boymans-van Beuningen,1992).

7  .Jane Rendell, Art and Architecture: A Place Between, (London: I. B. Tauris,2006), page 77.

8  .Ibid., page 77.

9  .Ibid., page 77.

l0  .Jane Rendell, Art and Architecture: A Place Between (London: I. B. Tauris, 2006),page 78.

11 .Howard Caygill, The Colour of Experience (London: Routledge, 1998),page74-75.

12 .Jane Rendell, Art and Architecture: A Place Between (London: I. B. Tauris, 2006), pagel43.

Mise-en abyme “Play within a Play”

“A play within a play alludes to and explicates the plot of a larger play within which it is staged”

THE PHYSICAL SELF: PETER GREENAWAY,

MUSEUM BOYMANS-VAN BEUNINGEN ROTTERDAM.

Peter Greenaway’s work interests me with its playful and investigative attitudes to the visualization of dialogues around what he himself calls “the physical human predicament.”

His exhibition is centred on the interactions on the issue of “the physical human predicament” and the available “contents” of the place of its presentation. The situation and contents of the display of historical artefacts and naked human beings in glass cases are relational attempts to illustrate Greenaway’s sense of the dissimilarities between objects and human existence.

This work touches the territory of the allegorical. Walter Benjamin has said of the allegorical “allegories are, in the realm of thoughts, what ruins are in the realm of things.”1 This relation is embodied by the physical display of living human beings being firstly dislocated/annexed and then displayed as “an equivalent”, along side with that of the artefacts objectivity.

This shared proximity prompts, as does allegory notions of the transcendental, as to what of “the human”, remains from this objectivity. This presentation is not so dissimilar from a theatrical showcase, with elements of “baroque theatre” and objects from a personal taxonomy drawn mostly with haptic associations. Artefacts could be said to be “orphans” taken out of the ruins of place.

The museum becomes their adopted orphanage, a repositoiy, where they can be viewed scrutinized. Greenaway makes this comment about the inclusion of the human, “to put an unclothed body in a glass case, to load it with the expectations and connotations of a museum object, to be deliberately contemplated, is to make particular demands on a viewer to look and see, compare and adjudicate the sensitivities of the physical self.”2

MOTHER AND CHILD

AGE

MAN AND WOMAN

MAN

WOMAN

TOUCH

FEET

HANDS

NARCISSISM

1  Benjamin, The Origin of German Tragic Drama, translated by John Osborne (London: Verso, 1977), page 178.

2 Peter Greenaway, The Physical Self (Rotterdam: Museum Boymans-van Beuingen, 1992), page 13.

Painting as an exploratory layered drawing for an architectural surface in a library

a shadow or an eidolen, an image without substance

OUTPOST Studio/Cyanotype Process Painting

THE MYTH:

PLINY THE ELDER : NATURAL HISTORY,translation H. Rackham 1952. BOOK 35

Origins of Painting ( XXXV,5).

The question as to the origin of the art of painting is uncertain and it does not belong to the plan of this work. The Egyptians declare that it was invented among themselves six thousand years ago before it passed over into Greece-which is clearly an idle assertion. As to the Greeks, some of them say it was discovered at Sicyon, others in Corinth, but all agree that it began with tracing an outline round a man s shadow and consequently that pictures were originally done in this way, but the second stage when a more elaborate method had been invented was done in a single colour and called monochrome, a method still in use at the present day.

Plastic art. Early stages. Butades and others. (XXXV ,43 ).

Enough and more has now been said about painting. It may be suitable to append to these remarks something about the plastic art. It was through the service of that same earth that modelling portraits from clay was first invented by Butades, a potter of Sicyon, at Corinth He did this owing to his daughter, who was in love with a young man ; and she, when he was going abroad, drew in outline on the wall the shadow of his face thrown by a lamp. Her father pressed clay on this and made a relief, which he hardened by exposure to fire with the rest of his pottery ; and it is said that this likeness was preserved in the Shrine of the Nymphs until the destruction of Corinth by Mummius.

BIBLIOGRAPHY AND REFERENCES: BOOKS:

Gaston Bachelard, The Psychoanalysis of Fire (Boston :Beacon Press, 1964).

Roland Barthes, Camera Lucida (Reading: Vintage,2000).

Roland Barthes, Mythologies ( Reading: Vintage,2000).

Georges Bataille, Eroticism (London: Marion Boyars Publishers, 2006).

Eduardo Cadava, Words of Light (New Jersey: Princetown University Press, 1997).

Italo Calvino, Six Memos for the Next Millennium (London: Jonathan Cape, 1992).

Tony Cragg, In And Out of Material {Manchester: Cornerhouse Publications,2006).

Mary Douglas, Purity and Danger (London: Routledge, 1994).

Ernst Gombrich, Shadows, The Depiction of Cast Shadows in Western Art (London: National Gallery Publications, 1995).

Antony Gormley, Drawings (London: The British Museum Press, 2002).

Tania Kovats, The Drawing Book (London: Black Dog Publishing,2007).

Amelia Opie, The Father and Daughter (Peterborough: Broadview Press,2003).

Pliny, Natural History Books 33-35 trans H. Rackham, (London: Harvard University Press,2003).

Maurice Merleau-Ponty, The Visible and the Invisible (Evanston: Northwestern University Press, 1968).

Victor 1. Stoichita, A Short History of The Shadow ( London: Reaktion, 1997).

Andrey Tarkovsky, Sculpting in Time (Austin: University of Texas Press, 1986).

Rose Temkin, Thinking is Form: The Drawings of Joseph Beuys (London: Thames and Hudson, 1993).

Tracey Warr, The Artists Body ( London: Phaidon Press,2000).

EXHIBITION CATALOGUES:

Anthony Bond, Body (New South Wales: The Art Gallery of NewSouthWales,1997).

Michael Craig-Martin, Drawing the Line(London South Bank Centre, 1995).

Jacques Derrida, Memoirs of the Blind, The Self-Portrait and Other Ruins (Chicago: Chicago Press, 1993).

Avis Newman, The Stage of Drawing, Gesture and Act (London: The Tate Drawing Centre, 2003 ).

Giuseppe Penone, The Eroded Steps (Halifax. Henry Moore Sculpture Trust, 1989).

The South Bank Centre, The Body of Drawing, Drawings by Sculptors (London: The South Bank Centre, 1993).

Michaela Unterdorfer, In Search of The Perfect Lover (Baden-Baden: Staatliche Kunsthalle,2003).

JACQUES DERRIDA THE SCEPTICISM OF DRAWING:

Jacques Derrida in 1993 wrote an extensive text to accompany an exhibition of paintings from the Louvre. This text titled Memoirs of the Blind, The Self-Portrait and Other Ruins contains within it some particular references to “Pliny’s Origins of Painting.” Together with the aid of illustrations of paintings on this theme, he examines and interrogates their philosophical and historical qualities.

Derrida makes particular mention and emphasis of the “state of blindness” in his analysis of the Butades myth. In particular the notion of  “scepticism” which is at the very heart of drawing. This notion of the “difference between believing and seeing”1, and what he remarks as “believing one sees and seeing between” evokes the emergence of a “glimpse” caught in a state in which “doubt ever becomes a system“2. There is a moment of delay between the gaze with its vigilance and attention, and what one reflects upon seeing. These actions will conspire to create the moment of conclusion. So by keeping the thing in sight it is being constantly examined but not reflected on, until the point when the gaze is averted to the drawing .It is a this instant, withdrawn from the sight of the object, that a “blindness” forces the recollection (the moment of conclusion to emerge) to which the drawn mark is visual evidence of that moment Derrida makes the observation that representations substitute memory for perception and that blindness is a constant withdrawal into memory. Derrida is of the view that drawings, paintings are “representations drawn most often from an exemplary narrative.” This myth of Butades with its “exemplary narrative” relates directly to the absence or invisibility of (being in) the drawing process whilst in the presence of the object, that the very act of drawing withdrawals and blinds its participant. Butades daughter is “blinded” in the acts of both love and the act of drawing. Through these conditions it can be seen that Butades daughter is blind to the vision of her lover and in drawing around his projection she is forced to recollect and reflect to produce a conclusion of that action by the simple gesture and act of an inscription drawn aided by a flickering silhouette.

Derrida uses the example of the painting by J. B. Suvee “Butades or the Origin of Drawing 1791” or as it is referred in English as “The Daughter of Butades Drawing the Shadow of Her Lover ” to illustrate that it was “as if one drew only on the condition of not seeing.” The drawing in effect becomes a “declaration of love destined for or suited to the invisibility of the other.”3 Derrida comments that the origin of drawing may have become born from the desire to create some sort of surrogate mark which originates “from seeing the other withdrawn from sight.“4 The important observation Derrida continues to make is that the daughter in “following the traits of a shadow or a silhouette” who is in effect drawing on a blindness which will through recollection, initiates a sense with which she is in effect “already loves in nostalgia.”5

Derrida dwells on the very nature of drawing moving away from “the origin of drawing” to “the thought of drawing” he comments that the thought of a drawing has a “certain pensive pose, a memory of the trait that speculates, as in a dream, about its own possibility.”6 It is as if the potency of drawings is a projected development that occurs as Derrida states “on the brink of blindness.” This notion of the “trait” (a feature to a line, stroke, or mark) a visible presence that accompanies the lines odyssey, a sense of presence that can witness something of the invisible in the visible is touched upon. ’’Merleau-Ponty’s The Visible and the Invisible is cited by Derrida as having already made “Indications” in this respect Derrida footnote from The Visible and the Invisible seems to sum up something of the invisibility and presence of the trait acting on a drawing. This extract taken from the “working notes” section of the book it reads” One has to understand that it is visibility itself that involves a non visibility.”7

Distilled from the salient points of Derrida’s extensive interrogation Memoirs of the Blind seems to acknowledge the fact that “whether Butades daughter follows the tracts of a shadow or a silhouette or even if she draws on the surface of a wall or in a veil.”8 the resultant inscription in any event “inaugurates an act of blindness.” Derrida’s revelation is that “perception belongs to recollection.” Butades daughter’s act is in blindness, as if she was drawing a declaration of love that simultaneously that also contains her anticipation of a loss, and as a result, a nostalgia that is reflected upon before it is actually perceived.

1  . Jacques Derrida, Memoirs of the Blind, The Self Portrait and Other Ruins (Chicago: Chicago Press, 1993),page 1.

2  .Ibid., page 1.

3  .Ibid., page 49.

4  .Ibid., page 49.

5  .Ibid., page 51.

6  .Ibid., page 3.

7   Maurice Merleau-Ponty, The Visible and the Invisible (Evanston: Northwestern University Press, 1968),257.

8   Jacques Derrida, Memoirs of the Blind, page 51.

VICTOR I. STOICHITA PLINY’S MYTH:

V. I. Stoichita in his book “A Short History of the Shadow” has analysed “Pliny’s Butades myth,” he makes the point in his introduction “that it is of unquestionable significance that the birth of Western artistic representation was in the negative,1” and that it emerged as such from the projection of the body marking it’s very presence by a projection, a shadow or an eidolen, an image without substance. Butades daughter therefore attempts to capture this intangible immaterial, the double of the one through whom she anticipates her impending loss.

Stoichita has noted that “Pliny” returns to the myth twice, first to discus the origins of painting and then further on to the production of sculpture. Stoichita elaborates further that Pliny claims that “the Greeks discovered painting, not by looking at Egyptian works of art but by observing the human shadow.” Pliny quotes” but all agree that it began with tracing an outline round a man’s shadow. “Stoichita connects Pliny correspondence as being a “three part theory” in which he Pliny uses early Greek painting, Egyptian painting, and the shadow.

Stoichita makes the connection that “Plinys approach can be placed at the crossroads of history and artistic mythology.2” Pliny uses a fable as a myth of origin to interpret the historical existence of early Egyptian painting The evolution of painting from this “early shadow stage” is then replaced by the advancement of a mono-chrome painting which was then later replaced by relief and shading now becomes a means of expression not just a support to give a sense of form to an outline.

1  Victor I. Stoichita, A Short History of the Shadow (London: Reaktion, 1997), page 7.

2  . Ibid., page 14.

The Daughter of Butades : Visual Art Winchester. 2008

My research centred on various situations that owe their inspiration to Pliny’s simple concise statement in his Natural History on the “origins of painting and the plastic arts.” My initial reason for selecting this particular mythical tale is its sense of performance through the simple act of drawing. It records the daughter of Butades and her lover, collaborating to produce an intimate trace of her gesture and his presence.

This performative action is at the heart of contemporary art practice. In some respects this trace is done with a form of blindness as commented upon by Derrida. This blindness of drawing and the blindness of love seem to stimulate the idea of a myth within a myth, one blind to the other. The notion that she is in the act of drawing in the anticipation of loss; and simultaneously she is sensing a nostalgic moment. This all transpires whilst her lover is still present.

Andrey Tarkovsky manages to suffuse these values into his work. These “poetics” are derived from the enduring sensibilities of mythical language. They allow things of wonder to attach themselves to the everyday. Italo Calvino’s comment “with myths, one should not be in a hurry,” seems at odds with our culture of speed and its overabundance of events and information.

But ironically this “supermodemity” with its non-places that induce a sort of solitary individuality might actually grant access to a mythical language centred by the very anonymity of these transitional sites. It is into these non-places that Butades daughter cites her act and gesture of an artist. The residue and vestige of what remains is her commenting actions, not some attempt at pictorial representation.

The inscription or mark which through an authenticity of an artist becomes captured by the place, it becomes marooned, vacated, at a standstill, time passes through somewhat stalled. This trace of authenticity of the contemporary artist becomes an absence marked, a passage and a dimension of possibilities.

The contemporary artist is already using a language of material residues, and past events from which new languages will evolve.

Myth must be the lightest historical residue there is; perhaps that is why it can survive on the barest of traces.

White Noise

Nocturnes of Silence

Inquiry is essentially the way of learning

SENSORY THEATRE

Contents List from a folder in the Theatre of Research

DSC_8759 Discursive Documents : Enchantment/Somantic Affects, Jane Bennett Assemblage : Aesthetic Convergence Cultivation Field/Vibrant Matter Becoming complicit with materials Realist Magic, Objects, Ontology, Causality. Timothy Morton. 2013 Matter and Desire, an erotic ecology. Andreas Weber. 2017 Vibrant Matter, a political ecology of things. Jane Bennett. 2010 Therese Oulton Paintings and new digital prints Lines of Flight. 2006 Being Alive Essays on Movement, Knowledge and Description Tim Ingold. 2011 MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION MATERIALS THEMSELVES become the TOOLS of PERCEPTION Enchantment from the potential of things. The Fabric of thoughts The invisible within the visible (energy,magic,causality) RELATEDNESS, connected to the Place and Function of Things within a Field. Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant. We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships. EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler The World is a Collage Collage and montage are quintessential techniques in modern and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble. Juhani Pallasmaa Hapticity and Time Notes on a fragile Architecture The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold See Yourself Sensing Redefining Human Perception Madeline Schwartzman STILLNESS IN A MOBILE WORLD Bissell, Fuller

Inquiry is essentially the way of learning

SENSORY THEATRE

Contents List from a folder in the Theatre of Research

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented ‘happening’. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini’s art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993