Spatial Practices : Experimental drawing and alternative photography.
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Collage: Diversions, Contradictions and Anomalies. Collage’s integral methods of discordance and displacement have so insistently reflecte…
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Folder Cover, The Thinking Hand TheThinking Hand: Existential and Embodied Wisdom in Architecture. Juhani Pallasmaa Frameworks with En… -
In this essay Totaro analyzes the unique thematic and aesthetic import of Tarkovsky’s use of nature.
Source: Nature as “Comfort Zone” in the Films of Andrei Tarkovsky
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Analysis of data drawn from a-n’s Jobs and opps site over the calendar year of 2016 along with commentary on the current conditions for artists’ practice in the UK.
Source: Artists work in 2016 – a-n The Artists Information Company
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Open Systems/Speculative,Dynamic, Creative. An assemblage/energy of images,collage, drawing and texts and other disparate elements.
Source: Making/Photography/Process and Aesthetics
Saturday, 7 October 2017
Making/Photography/Process and Aesthetics
Found Objects : Archaeological PhotogramWhen 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 RuffFrameworks with Enclosures 6
Of the mason’s who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a project of the mind.
Tim Ingold ‘Making’The Mirrored Abbey : The Photographic Aesthetics of Decay
Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,TRANSPARENT MEDIA : Form,structure, space, enchantment
Double Take
15 APR – 3 JUL 2016A two-venue exhibition exploring the relationship between drawing and photography, taking place at Drawing Room and The Photographer’s Gallery, London.
Drawing and photography are each considered the most direct, ‘transparent’ media with which to engage with the world. They share fascinating parallels: the relationship to the indexical, the blank sheet of paper or surface, graphite and silver, pencil weight and aperture, the sense of an invisible ‘apparatus’ (the camera and pencil), the engagement with surface, light, negative and positive and the trace. Double Take seeks to explore the multifarious ways photography and drawing have been combined and mirrored to extend both practices into new arenas in modern and contemporary practices.
“… a freehand sketch diagram that was at the tangent between idea and imagination…if the parti – the first critical diagram – is not made well, it will be difficult for architecture to follow. If there is no parti, there will be no architecture, only (at best) little more than the utility of construction. Buried within their early sketches is the germ of a narrative or language. The early diagrams are reflective conversations with the language of architecture.”
– Alan Phillips, Brighton, UK
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Foreword. The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the wor…
Source: In Defence of Sensuality : John Cowper Powys 1930.
The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word “Sensuality” which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word “sensuousness” down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.J.C.P.Dedicated to the memory of that greatand much-abused manJean-Jacques Rousseau“In the water” : Pinhole Photography/ Floating Camera
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An assemblage of images,collage, drawing and texts and other disparate elements.
Source: Life Drawing : An Emotional History
Humanity : An Emotional History
Stuart Walton. 2004Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
HappinessOxford Dictionary of Geography: spatialityThe effect that space has on actions, interactions, entities, concepts, and theories. Physical spatiality can also be metaphorical. It is used to show social power—thrones are higher than the seats of commoners, and ‘high tables’ for university teachers in most Oxbridge colleges physically elevate the teachers over the taught. People use proximity to show how intimate they want to be with others (See personal space), or orientation; we may face someone or turn away from them. Institutions and governments have used large architectural spaces to invoke awe, while restaurateurs may create ‘cosiness’ in small spaces.
“Spatial turn” The increased attention to matters of space, place and mapping in literary and cultural studies, as well as in social theory, philosophy, and other disciplinary fields.
Spatiality, Robert T. Tally Jr. Routledge 2013.
The origin of “True Humanity” : Tim Ingold
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Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006Immersive
the “cave” paradigm, the virtual helmet, the black-box video, the earphone setAlienated
taking technology and “making it strange,” exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientationInterrogative
work that repurposes or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systemsResidual
work that holds on to an earlier technology, repurposes or even fetishizes an abandoned oneResistant
work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert themAdaptive
work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question
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