Space is an abstract term for a complex set of ideas.

The photogram is the immediate result of a constellation of light, three-dimensional object and photosensitive material.

Experimental Vision
FROM BEYOND VISION
Photograms
Flouris M. Neusus

Work in the light laboratory was a standard part of the curriculum.

The photogram became a functional element of a personal time curve, allowing the artist to continually endeavour to see or put phenomena into new relations.

Moholy-Nagy and the Chicago Bauhaus
Thomas Barrow

THE COLOUR OF TIME
Garry Fabian Miller

The Majesty of Darkness
Adam Nicolson

The Unmade
The Pregnant
The Half Erotically Unmade

ADYNATA- Time’s Colour, impossible Beauty
Marina Warner

TIME AND LIGHT
Nigel Warburton

TRACING LIGHT
David Alan Mellor
Garry Fabian Miller

Derrida
Blindness
Butades
Trace and Trait

Karl Blossfeldt
WORKING COLLAGES

The Subject Matter of Lived Experience

The Potter’s wheel creates cognitive enactments (materiality) through encountering clay.

The Heideggerian Roots of Everyday Aesthetics
A Hermeneutical Approach to Art
Cristian Hainic

The mere aesthetic experience of understanding one’s being-in-the-world as made up by everyday phenomena, is in itself overwhelmingly sufficient to constitute a foundation for an aesthetic of everyday life.

Textuality/Interpretations (Texts and their inherent lack of perceptual immediacy)

Everything in language belongs to the process of understanding

Human understanding/interpretation takes place not in the immediacy of representational thinking but rather in the lack of  objects and experiences available for direct confrontation.

John Dewey
Live Creature, an aesthetic experience comes to be defined as active and alert commerce with the world. Life does not merely go on in an environment, but rather because of an environment and because we interact with it.

Up, Across and Along
Tim Ingold

J.M.W. Turner (1775-1853)
Dunwich, Suffolk,c. 1830

THE ART OF SURVIVAL
Jacqueline Rose’s catalogue essay on Therese Oulton

How to paint the earth lovingly but without false solace,a world in which love might be impotent?

But then, at the very moment you have ceded such intimacy, she manages to give you the sensation of a world hurtling to the point when there might no longer be anything, or anyone there.

The Art of Jeremy Gardiner
UNFOLDING LANDSCAPE

LANDSCAPE, MEMORY, AND PLACE
Robert Ayers

Often for these painters the experience that they concern themselves with most directly, is that of nature, which in its vast and enormously inflected range can act as a metaphor for lived experience.

They are concerned more with how nature feels than how landscape looks. They share too an awareness that it is the translation of that feeling into paint mark, the achievement of an equivalence, that is of crucial importance. It is in the consummation of paint and experience that picture-making finds experience.

Paint marks flicker as we look at them between substance and illusion.

CONTESTED SPACE
Urban/Social/Landscapes

Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.
An Anthropology of Landscape

Christopher Tilley, Kate Cameron-Daum

ORDINARY LIVES
Studies in the Everyday
Ben Highmore

Lukács’s Literary Cartography:
Spatiality, Cognitive Mapping, and The Theory of the Novel
Robert T. Tally Jr.

https://www.flickr.com/photos/russellmoreton/26224308391

Tracing Light : Petworth House, West Sussex 2000
David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci
For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in ‘a certain history of the relationships; earth/sun in the system of perception’.

Mutations Of Light
Petworth Window, 6 July 1999

Light’s Windows And Rooms
Passing towards the Invisible.
The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent  theme in William Henry Fox Talbot’s early speculations.

BROUGHT TO LIGHT
PHOTOGRAPHY AND THE INVISIBLE 1840-1900

Sight Unseen
Picturing The Universe
Corey Keller
Invisible objects, penciled by nature’s own hand.
In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the ‘world itself’.

The Social
Photographic Eye
Jennifer Tucker
Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.
An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.

Invisible Worlds
Visible Media
Tom Gunning
William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6×22.5 cm.

Techniques Of The Observer
On Vision And Modernity In The Nineteenth Century
Jonathan Crary
The Camera Obscura and its Subject
Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one’s relation to the manifold contents of the now ‘exterior’ world.

UNDER THE SUN
By The Light Of The Fertile Observer
Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.
An Epiphany Of Light
David Alan Mellor

Transactive Memory
Systems Virtual Teams
The Body
Minds and Metaphors
Laban-CHOREUTICS

The Mind In The Cave
David Lewis-Williams

The Matter of The World
Minds and metaphors
Cathedrals of Intelligence
The ‘Looking mind’

Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale

Acquisition/Sharing of Implicit and Explicit Information

Organisations increasingly rely on teams to do much of the work traditionally accomplished by individuals.
Successful groups are those who are able to create synergies in the form of information aggregation and innovation that is beyond the ability of any single member.

Nascent Knowledge
Information Diversity
Task Conflict

The knowledge and perspectives of group members from the same social networks may be more redundant than diversified. However a total diversity among work group members is not desirable; some ‘redundancy’ (agreement in perspective) among group members is necessary to ensure enough common ground to facilitate successful group interaction.

Transactive Memory : Knowing and Accessing What We Know

For teams to have synergy they must be able to access their information, it is important to know who does what.
Wegner 1987; 1995)

RELATIONAL DEVELOPMENT
TIME
Synchronous/ Asynchronous
COMMUNICATION

Transactive Memory : A Contemporary Analysis of the Group Mind
Daniel M. Wegner

The study of transactive memory is concerned with the prediction of group (and individual) behaviour through an understanding of the manner in which groups process and structure information.

Individual Memory
Information is entered into memory at the encoding  stage, it resides in memory during a storage stage, and is bought back during the retrieval stage.

Organisation : differentiated/integrated
Label
Location

THE LABAN SOURCEBOOK
Dick McCaw

Rudolf Laban (1879-1958) was a pioneer in dance and movement, who found a extraordinary range of application for his ideas; from industry to drama, education to therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.

Diagram : Three Planes of Movement from Choreography
Inner and Outer Tension : Inner and Outer Form

CHOREUTICS : Principles of Dynamic Space and Movement

Choreutics presents the grammar and syntax of spatial form in movement and the nature of movement’s harmonic content.

Effort
Exertion of Power, Physical or/and Mental

Force
Space
Time
Flight

Indulging/Contending
SPACE Flexible/Direct
WEIGHT Light/Strong
TIME Sustained/Quick
FLOW Free/Bound

Shadow Moves
An acute observer of Shadow Movement of a person in different situations and at different times will show the consistency of that individual’s basic attitude and personality.

Effort and Recovery
Movement Psychology
Thinking
Intuiting
Sensing
Feeling

RELATIONSCAPES
Movement, Art, Philosophy
Erin Manning

Prelude : What moves as a body returns as a movement of thought

Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.
Gilles Deleuze, Difference and Repetition

AN
ANTHROPOLOGY
OF
LANDSCAPE
Christoper Tilley, Kate Cameron-Daum

Materiality
From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.
It forms a material medium in which we dwell and move and think.
Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.
Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.

Field Observations
Spatial relations within the landscape are complex.
The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.
Embodied Identities
Art in and from the landscape
Fragile Environments : Nature and Culture

On Ways of Walking and Making Art
A personal reflection
M Collier
Making art is a practical application of phenomenology
Engaging  with an embodied experience of space and depth (what Merleau-Ponty called the ‘flesh of the world’).

WATERLOG
Journeys Around An Exhibition
Landscape and Memory

AFTER SEBALD
Essays and Illuminations
Edited by Jon Cook

In drawing the moments of choice have been kept visible.
John Berger, Berger On Drawing.

A drawing is essentially a private work, related only to the artists own needs.
The Drawn Line-A Recession-A Past Statement Brought Forward

The Body of Drawing
Drawings by Sculptors
South Bank

Drawing registers the transforming effects of the imagination and the memory.
Drawings are images of flux; flux both imaginative and physical.

Drawing is a verb.
There is no way to make a drawing-there is only drawing.
Richard Serra

The Drawing Book
Tania Kovats
Drawing is something where you have  a really direct-immediate relationship with the material. You make a mark, and then you make another mark in relation to that mark.
Kiki Smith
The Body
Rodin’s lines dont just represent carnality; they are themselves carnal, invasive, sexy. Uninterrupted by the space between the material and the body; the line made by the drawing hand stands in for other haptic things. The body is where drawing begins and where it ends.

Looking at images does not lead us to the truth, it leads us into temptation.
Marlene Dumas

Sexuality and Space
Beatrice Colomina

Drawing and Random Interference
From Chaos To Order And Back Again
Sally O’Reilly

Quantum Chance
Janna Levin

AFTERIMAGE : Drawing Through Process
Cornelia H. Butler

Fiona Banner
Life Drawing
Performance Nude

Marking Time
Examining Life Drawing as Methexis
Margaret Mayhew

Rather than regarding life-drawing as an event of realism, it may be more productive to
explore it as an assemblage of events, a field of practices, or as a cluster of performances.