Wednesday, 26 April 2017

Beauty : Roger Scruton

Judging Beauty
Objectivity

Kant's claim is not that the judgement of taste is binding on everyone, but that it is presented as such, by the one who makes it.

When I describe something as beautiful I am describing it, not my feelings towards it
I am making a claim, and that seems to imply that others, if they see things aright, would agree with me.

Beauty, Roger Scruton




Art is never finished : Anselm Kiefer


Thursday, 20 April 2017

Mesh/Material/Light, Cyanotype Process

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]

























































Sunday, 16 April 2017

James Turrell


Intellectual Production : Moholy-Nagy

Practical Educational Establishments

Concentrations of intellectual production in political, scientific and artistic work in all areas of human activity.

https://monoskop.org/images/0/0d/Moholy-Nagy_Laszlo_Vision_in_Motion.pdf

The Art of Light
Laszlo Moholy-Nagy

Moholy-Nagy's educational concept was comprehensive, going far beyond purely artistic training and instead aiming for a fundamental ethical grounding of the social individual in education and design.

Educator, Modulator and Integrator, Hubertus Von Amelunxen







The task therefore is to educate the contemporary man as an integrator, the new designer able to re-evaluate human needs warped by machine civilisation. 

Moholy-Nagy, Vision in Motion, Chicago 1946

https://rekveld.home.xs4all.nl/tech/Moholy_Kepes_fragments.pdf



















Pastoral Space : Material, Inquiry and Craft

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Drawing intervention and speculative sculptural environment.

Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine
















Saturday, 8 April 2017

Visual Mappings : Collages for Sequences and Spaces


Extract from Peter Zumthor, Hortus Conclusus 2011.


Directors’ Foreword: Julia Peyton-Jones, Hans Ulrich Obrist.

Zumthor’s architectural design practices consider each project in terms of a comprehensive and encompassing sensory experience. Looking at more than the physical fabric and form of the building, he often draws inspiration from memories of childhood experience. His projects aim to reference all aspects of sensory perception, addressing the relationship between the human body and the ways it may interact within the built environment. Many of Zumthor’s projects have been specifically noted for their thoughtful and evocative play on scale, colour, material and light in harmony with the buildings function and surroundings. (Peyton-Jones 2011: 9)


Waverley Site

Hortus Conclusus

Sensing Spaces


Oculus Pavilion

Variegated and mutable veiling of transparencies through sunlight and a gentle breeze.
Shadow (voids) and Forms (layered movements)
Permeable membrane (time passes through here)
The River (Jackie Leven/Kenneth Patchen,The Skaters) a corporeal presence on loss, memory/absence, subjectivity and flow.

Kengo Kuma. Complete Works, Kenneth Frampton.

Our aim is to create architecture that confronts and fuses with the earth.’

‘Architecture should not be cut off from the ground like a building designed and transported to the site.’

Kuma’s ‘anti-objective’ architecture is anti-perspectival in that it is categorically anti-thetical to the subject/object split of the occidental tradition.

‘The asymmetrical projection of the Water/Glass volume, derived from the diagonal platform of the Noh stage, makes it explicit that there is no single ideal point from which this waterborne scene may be experienced.’ (Frampton, 2012:12)


Katsura Aesthetic.
Non Corporeal Architecture ( 2001 A Space Odyssey, the final room with its dematerialised phantom character of absence and voyeurism)


Japanese Vernacular, Void/Ma space, Translucency, Sequence of Spaces,  
  














Sunday, 2 April 2017

Photograms : Contact Photography

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

Photogram from Victorian corset.

Found Objects : Archaeological Photogram

Camera Obscura : Interior of the Pottery at Kilquhanity

Spatial Photogram