Seeing Swifts

Common sense and a sense of humour are the same thing, moving at different speeds. A sense of humour is just common sense, dancing.

William James

14 July 2014

Watching swifts far above me, against a hazy blue sky. It is early morning and this blue sky is a sign of a beautiful day to come.

Swifts, tumbling, soaring. Their flight is elating. They fly so high that they come in and out of my range of vision, sometimes they're there, sometimes they're not. Tiny tumbling black spots in my eye. When they're closer I can see the crescent arc of their wings.

When they're gone my eyes are searching and the tiny shapes of stuff on my eye and the imaginary residue of stuff in my eye and on my brain become visible in the searching, against a blue sky. Barely discernible shapes and fuzzy motions that I may or may not have invented. Tiny shapes moving in my eyes, tumbling and elating in their freedom and flight, and the flight of the swifts blur with my own looking – all that activity. Swifts of and in my eyes, my flight with them.

There's nothing passive about seeing.

home space

There's been a process unfolding within and around me, as I adjust to having a new home, and fill it physically and psychically.
Encouraged by a lovely compliment from Rita Evans - I begin to let more of the fruits of this process appear on here.
I have felt as if my home space has become the outer limits of my psyche, and within these walls all is creativity and play. To take it beyond these walls is to make it something else, but that's ok, I have encouragement.

(below) Shapes intersecting, things intersecting as they are in this particular moment.

Chillies and umbrella 

and bananas and daffodils

colour connections

and sunshine

can you make embroidery from detailed photo images?

my creativity has been focused on a new home.
textiles follow from this state. here are photos i want to register as potential embroidery designs:

hmmmm 

...and my Bornholm favourites:

Light Touches (again)

Some images from today:

giant rhubarb series

Madron 28.11.12

Paris

My four favourite images (so far):

Thought Jan 2012

Just going to quickly jot some thoughts down.
Thinking about the role of symbols in our thought. How images that we carry in our minds mold our subsequent cognition, how it is as if the form of the images/representations that we take of the world come to delimit what we are then able to see/think, or at least, to influence it, maybe to facilitate it. Our representations as symbols, because they facilitate a transition somehow, the transition of the thought process itself. The transition of inner mental experience mediated/mediating our experience of the outer world.
Saw this today:
http://www.ravenrow.org/current/asier_mendizabal/
And there was talk of collective symbolisation in objects and in political representation.
I am thinking too about constructing house like structures within our imagination in order to 'house' our thought - that place that makes the ingestion of our experiences possible. What would your house be made from?
The faculties, as in Kant's, need a certain imagination space in order to fantasize. The fantasy, our visions, are secreted by the experience of living life, both physically and cognitively. Those visions are related to the thinking and experiencing, and are necessary for true comprehension to occur.
In which case we need space to be imaginative.

Classification is fascinating

A while ago, Mr. shaj mohan said that my work was always about taking something away. I wasn't sure what he meant, but just this week I think I might be getting an idea. My work is always a focus or close up on something, with an interest in transforming what that thing is a little, making it look a bit like it's not the thing that it is. I can see now, that the taking away, could be about removing the means of identification that would give it its normal identity. 


I've been thinking a lot about being a relativist, that I don't think things are essentially themselves. They always require a relationship or context in order for us to define them. 


I like the contrast in the lower picture here - the purple sky and dark branches, with the gold branches below.

Getting Into Natural History

I've been away, and pondering on this notion of natural history (since I'm writing a thesis on Adorno's take on it). A new found fascination for animal classification and the natural world as object of study is burgeoning, though these pictures don't really reflect that as they are still very romantic and I'm not sure they pull off any convincing scientific objectivity. Wow, without even trying the dualism/opposition is set up! It's not a dualism that I'm interested in - the affirmation of an opposition between subjective and scientific ways of seeing the natural world. It's the entwinement of the two that is interesting, triggering thoughts on culture/nature as one and semiotics. 

I'm thinking to keep and collect the references to NH and animals... see what they grow into. Reading Afterall today, I was enjoying this article by Francis McKee on Minerva Cuevas: Anarchy in the Hive, with its introductory discussion of a cultural tradition of anthropomorphism being replaced by science, which does of course mean that science has retained something of the function of the old anthropomorphism to society, whatever that was.
 

Things In Themselves

Just giving myself a moment of distraction while reading Adorno's Metaphysics: Concepts and Problems. He has it that all concepts initially arise as abstractions from matter, and therefor, concepts refer to the residual material world - the two are tied, and when we conceptualise, conceptualising does not occur at the cost of the material it supersedes (idealism) but is in fact a result of the material. Things, materiality, the natural, particularities and that which changes, are accordingly elevated by this schema, without our schema merely replacing those things' materiality with another set of concepts. The material is left to exist as material, whilst not being relegated to an inferior status in relation to the immutability of concepts.

These images come from a recent trip to HMS Belfast on the river Thames in London. I managed to utterly fail at learning anything about the ship and its life at war, nor much about the lives of the men who lived and worked in it. I did get very excited about the fixtures though and took a lot of photos that I'm excited to work on. In this philosophical dualism of form and content, I wonder at the role of photography. Does the camera impose a form upon the matter? And where is the matter - in the material of objects' physical makeup, or in their relationships to human activity? I like this thought that the concept refers to its material content - it is as if the form of these objects bring with them the memory of the industry and functionality of the warship.

Dusk

Extracts

I have a habit of underlining bits of text as I read that feel particularly resonant to me in some way. Usually the resonance comes from an argument suddenly opening into another element or avenue (plane) that therefore connects up areas I hadn't before seen the linkage between. I thought I would extract these bits of text and see what they collate into as a collection of such openings.

"...the autonomy of the art object is something which is produced out of the social relations which constitute the institution of art itself." 1

"By defending a form of autonomy which is constituted through the negation of tradition, the irreconcilability of art is coextensive with the irreconcilability of the subject's consciousness of being-in-the-world." 2

"While it is a critical convention ... that people were exhorted to turn from the fascination of the world in order to attain eternal life, the situation is not as simple as this easy distinction between the sacred and the profane. It is the very point of the garden of love to show how the separation of the world, life, and love, into sacred and profane ... is a misprision; that the rift between sensation and understanding (between Eve and Adam) is an illusion..." 3

"The continual production of difference - that is, of uniqueness and particularity - is implicit in the singularity of things." 4

"...connection not renunciation..." 5

"...a continual benediction of emergence conceived as erotica and amoenita..." 6

"...a transformation 'of nature into culture to such an extent that the origin of love ... remains ambiguous' (Cherchi xiv)." 7

"For absolute freedom in art, always limited to a particular, comes into contradiction with the perennial unfreedom of the whole." 8

"...art sanctions the primacy of reality." 9

"Art can be understood only by its laws of movement, not according to any set of invariants." 10

"That artworks as windowless monads "represent" what they themselves are not can scarcely be understood except in that their own dynamic, their immanent historicity as a dialectic of nature and its domination, not only is of the same essence as the dialectic external to them but resembles it without imitating it." 11

"...and while this is the nominalist dilemma of all art after the readymade, we can only comprehend the distinctions we make through the frames of mind we do or do not have in common." 12

"The contemporary question of style must be pondered alongside this current "production" of subjectivity, whether emphasis is on regularized forms of self-fashioning or on the singular and less controllable aspects of becoming." 13

"...style may be seen as a key component of media apparatuses that are not just presentational frames but also social machines that integrate human minds and bodies as part of their functioning." 14

"Style is the man when the man himself is a stylus - as in geomancy, when one's body becomes a seismic needle for registering, in ink or sand or some other substance, the signals of the cosmos." 15

1,2 John Roberts, 'After Adorno: Art, Autonomy, and Critique', Historical Materialism 7 (Winter 2000)
3-7 Rod Barnett, 'Serpent of Pleasure: Emergence and Difference in the Medieval Garden of Love', Landscape Journal 28:2-09
8-11 Theodore Adorno, Aesthetic Theory, trans Hullot-Kentor, 1970
12 Michelle Kuo, 'Forms and Functions (Editor's Letter)', Art Forum, September 2010
13, 14 Ina Blom, 'Questions of Style', Art Forum, September 2010
15 Alexander Nagel, 'Questions of Style', Art Forum, September 2010

Clothe

Work Lines IV

"In Woman is incarnated in positive form the lack that the existant carries in his heart, and it is in seeking to be made whole through her that man hopes to attain self-realisation."
Simone de Beauvoir, The Second Sex, p173

The White Ribbon

It takes a positive act to enable a gesture. In depression, contraction, the plane of extension, gesture, unfurling, action becomes inhibited.
All writing about depression is a paradox, or at least can only happen after the mood has passed, for no positive gesture is possible in the spirit of withdrawal.
What does one do with doubt? The paralysis engendered by lack of faith must eventually be overcome, for the world does indeed keep up its turning.

To find a way forward when confronted by the doubt of no-faith, we either create new faith or remove ourselves from the dilemma. Taking a step back, ironically isolating doubt as a phenomenon in its own right, bracketed off as a thing to be observed. To this end, doubt is masked from its own cause and takes the form of a generative state. We forget the reality that gives us doubt.

Dance.

Dogtooth

Rudolph Arnheim, The Creative Eye
Rudolph Arnheim, Visual Thinking

It is the story of struggle rather than achievement, as allegory of process rather than synthesis. Translated into local codes of application.
~ Francis Alÿs, A Story of Deception, 2010

ego as structural edifice, dissolve
something given and the tense
structure gives way - no ego
Parochiality
Only seeing a narrow parameter

Tremendous relief in letting go.

Mary Martin - Abstraction vs. construction.

Work Lines III (continuous update)

Edward Abbey

Mugabe and the White African, Channel 4

The fold of one 'half' over the other - a geological fold, physical land based in my imagination.
The camera, we/I moves from the partition (head on) between the halves and takes the dominant's side.
Woman is folded over,
unseen unheard from beneath Man's enfoldment.
Man seeks/achieves transcendence by overcoming Woman (animal) - Woman seeks transcendence by overcoming her animality. Again, Man's viewpoint - Woman nothing more than animal. To what extent is our language of this talk contributing to this understanding?
Language - rational, of man's domain?
Where is Woman subsumed? Within language?
Investigate animality.

The difference between knowing something through language and learning something through experience.
Investing the material with the spiritual - sacred earth vs. sacred thought, sacred feeling, sacred energy.
The feeling of fabric against skin - erotic, not because it fits idea of the erotic.
The moment of realisation - crystallisation, condensement, reification of new reality where the elements/conditions rearranged.

Division between sensible and conceptual/Idea - how this translates into 'eco', Natural, concepts of.

"The proper test is not that of finality, but of progress."
A.N. Whitehead, Process and Reality, Free Press corrected edition, p14

Quite nice having only limited powers of perception or sensitivity to things. Less responsibility to the chains of effect that lead out of every event, moment, thing.

Sensitivity: to take on - suffer - great imprints from things; to be impressed upon in great depth and length by the imprint of things.
- Not only prone to being hurt.

How do you make a structure? How do you make a visual representation of a structure?
Doomed to fail.
Francis Alÿs a structuralist - the pictures, the walking. Re-inscribing structure(s).

A painting reduces all elements, conditions, to an equality of substance and makes possible the re-rendering of both visible and invisible components on this new plane, for the ready communication of this portrayal and recreation within this new plane's substance.
The absurdity of trying to represent, make real/sensible structures, that are inherently non-representable. Or even just obscured too much for us to recognise this structual form. If it exists, visibly/sensibly or not, can we re-present it in sensible form?
By attempting, Man exercises his capacity for freedom and action and the right to transcend it, change it, have control of his destination.

Work Lines II (continuous update)

Agacinski

The sensitive object
TO TRY
Empiricism vs. Conceptualism

╚►

out of this an -No Theory
experiential mode
of DOING art emerges.


Representing the non-representable through the transformation of painting, through the mystery of the process of painting making real the mystery of the object (Idea or otherwise) itself. And visa versa...
Art being the act, the simple narrative of how it works.

Bernstein

Rationalism being a cognition of dead objects.
Living is deligitimised.
What would be the affinities between existences?
Wielding the critical axe - scything through the problem to pit the various conditions of the concept, question, problem against itself. Re-forming or reconfiguring the problem to produce a new object.


I am like a weather vane.

Where J. stands in for the cynic
<—> making both ways. All experiences, events, people, things like tokens, signs, symbols, for the meaning we have associated with them/it. For our own universe/service. Works both ways —> what happens as this tokenography works the other way?
Empty ourselves out from centre of universe - we are locus for other peoples!

David B. Smith
Charlotte Street

www.speculativeheresy.wordpress.com
www.planomenology.wordpress.com
http://www.k-punk.abstractdynamics.org/

laura douglas

Georges Braque
Bottle and Fishes, 1910-2

At losing ones job:
raw despair
at the primordial fear at prospect
of not being able
to support oneself,
elated at the
promise of new beginnings,
new chances, new
opportunities. Maybe
things'll get better!
Sick of this place
anyway.
Brutal anger at the
injustice of it all.
How has this been
allowed to happen?

www.opelori.com

MONOSKOP
PDFs.

Duty
manager
scoffing
the biscuits

The Overlap Series: Jogger
(with comic event)
2000-1


The Emancipatory.
Emancipation
as
revelation
Sacrifice
-McCarthy

Carly Simon
What's the rule?
Adorno?
(internalising the law/s)
Baldessari

Colouring my mind
Romanticism w/ its
cheap promise of c o m p l e t i o n


plays itself out at my mercy


Imagine, being given edifaces and abysses with our
birth and box of characteristics. The abyss we carry and on the other side of the cut
lies All That We Cannot See. All That We Cannot See - our blindnesses, our abjects, our beasts.
We cannot see them. They look like merky areas
of unseeing.
They unleash themselves on all that we encounter, colouring our perceptions, unknown to us.
Our neighbours,
the other beings we come into contact with can see,
they see our blindnesses, they make form
from what we don't delimit. Their eyes and their
powers make things out of our unseeing and give them back to us as real life encounters, the incidences, the bus stop chats with strangers, the friend round for tea, the kiss, the supermarket queue.

Other people see out blindnessess.

Bird song anchor points
To elevate
Come back to
yourself
Feel your periphery again
Feel your edge.

John Buckens