#ecology of experience

DSC_0289a1 Atelier with Scriptorium by Russell Moreton
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They will be schools no longer, they will be popular academies, in which neither pupils nor masters will be known, where the people will come freely to get, if they need it, free instruction, and in which, rich in their own experience, they will teach in turn many things to the professors who shall bring them knowledge which they lack. This then will be a mutual instruction, an act of intellectual fraternity. Michael Bakunin, 1870. Freedom in Education/Anarchism, Colin Ward 2004.

The Fleeting Cathedral by Russell Moreton
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Shroud Richard Stillman Yard and Metre Event, Winchester As the marks resonated, did they sound true? Could we tolerate margins of error or latitude? Is there strength in that built by blue ink? It is hard to see without certainty. Why have they flown, gathered, shrouded? Is the date significant? A memorial? Or is it white noise reverberating, striking parallels, refusing focus, insisting? The shape of the cross is still distinct but opening out, refusing definition, never quite caught as an intention, pinned on dimensions it wants to refuse. When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other. This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice. The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place. This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency. Stephen Boyce russellmoreton.tumblr.com/archive Cyanotype from a site drawing, Space for Peace, Winchester Cathedral 2011.

Blue Aesthetic : Vicarious Causation/Exploring/Thinking with Causality by Russell Moreton
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Realist Magic Objects, Ontology, Causality Timothy Morton On Vicarious Causation Graham Harman www.faculty.virginia.edu/theorygroup/docs/harman=vicariou…

Photograph (24) by Russell Moreton
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DSC_0166aby Russell Moreton
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DSC_0272by Russell Moreton
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Architectural Spaces : Choreographic Collage/Figure Drawing. DSC_0256a by Russell Moreton
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Photograph (132) Cyanotype by Russell Moreton
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Alternative Photography Documents from research archive 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 inthe 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. CATCHING THE LIGHT The entangled history of light and mind Arthur Zajonc 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 18.6x22.5 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 Christopher Bucklow , Guests Jeanette Winterson, Gut Symmetries Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality. From The Adamantine Land Variations on the art of Christopher Bucklow David Alan Mellor Etienne-Jules Marey A Passion For The Trace Francois Dagognet Painting, Photography, Film Laszlo Moholy-Nagy A Bauhaus Book L. MOHOLY-NAGY: DYNAMIC OF THE METROPOLIS SKETCH FOR A FILM ALSO TYPOPHOTO OSKAR SCHLEMMER MAN Interaction of Color Josef Albers The Elements of Color Johannes Itten Pedagogical Sketchbook Paul Klee The New Landscape in art and science Gyorgy Kepes The Colour of Time Garry Fabian Miller The Majesty of Darkness Adam Nicolson The Unmade The Pregnant The Half Erotically Unmade Camera Obscura of Ideology Sarah Kofman An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper. I Am Not This Body Barbara Ess