New Topographics in Photography and Architecture.
Alternative photographic processes in both digital and analogue image manipulation.

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light, Cyanotype Process

Locality/Social Complexity- Works on Paper

DSC_6026 Hortus Conclusus

https://www.flickr.com/photos/russellmoreton/42235368954/in/dateposted-public/

Twilight Abstraction : Liminal Zone.

Marking Stick : Leylines, Directions and Sites.

Found Objects : Archaeological Photogram
When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.
—Thomas Ruff

Waverley Abbey, interior with pinhole camera

Spatial Practices
Architecture, Fine Art, Performance
Blueprint, Photogram and Collage.

a thousand plateaus
Deleuze, Guattari

Assemblage

The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

http://www.rhizomes.net/issue5/poke/glossary.html

https://www.flickr.com/photos/russellmoreton/7459535864

Assemblage/Garden Design : Architectural Plan/Victorian Corset

DSC_6288 Studio Assemblages

The 1960s Body Through Sculptural Movement and Static Dance
Maya Bartel

DSC_6217 Winchester Cathedral : Static Movement/Space for Peace

The Film stilled, Raymond Bellour pdf, Chris Marker

Spatial Apparatus : Pinhole Photography/Cyanotype,  Tate Turbine Hall.

From the photogram to the pictogram : on Chris Markers La Jetee, Reda Bensmaia.
Camera Obscura, Sept 1990.

Nostalgia and La Jetee
Karla Huebner

The Mirrored Abbey :  The Photographic Aesthetics of Decay

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

The Custodians, Richard Cowper 1976.
https://russellmoreton.wordpress.com/

Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness

Camera/Room Obscura : Physical Contact Print
Light Writing : Surface Architectures
Kilquhanity, Scotland.

Sculptural Form/Everyday Interior (Bramdean)
Scarred Time/Photographic Surface/Negative

The arts, as technologies, are carried along in the same unpredictable history. Their very finality is uncertain. How then can one found a school of art? Perhaps precisely by bringing together artists, that is to say, technicians, who are no longer assured of disciplinary borders, who explore the frontier zones, the limit zones, the in-betweens. . . .
A paradoxical institution, to be sure, since it institutes a decompartmentalization , giving a place and a frame to operations of unframing.

Sylviane Agacinski, IN-BETWEEN (a notion which is neither a concept nor an image, Tschumi)

At some time, perhaps many times in his life , every man is likely to meet with a thing in art or nature or human life or books which astonishes and gives him a profound satisfaction, not so much because it is rich or beautiful or strange , as because it is a symbol of a thing which, without the symbol, he could never grasp and enjoy.

Edward Thomas
The Inn/One Green Field

In the course of a lifetime there are few decisive conversations: with a classmate in high school, a father or mother, a best friend, an admired mentor, a person whose newfound presence will shape the rest of our existence.
Alain Fleischer, LE  FRESNOY : WHY THAT? WHY THERE?
Bernard Tschumi : Architecture In/Between

Architecture, Light, Art,

The real drawing takes place in the mind, Brian Clarke

Drawing in a volume, Zaha Hadid