06. Against Boundaries

“…in a world that is truly open there are no objects as such. For the object, having closed in on itself, has turned its back on the world, cutting itself off from the paths along which it came into being and presenting only its congealed, outer surfaces for inspection. That is to say, the ‘objectness’ of things – or what Heidegger called their ‘over-againstness’ – is the result of an inversion that turns the lines of their generation into boundaries of exclusion. The open world, however, has no such boundaries, only comings and goings. Such productive movements may generate formations…but not objects.”

– Tim Ingold: ‘Bindings against Boundaries – entanglements of life in an open world’ in ‘Environment & Planning’ vol. 40, pp. 1796-1810, 2008

Some important texts…

PDF: Walter Darby Bannard | Touch & Scale 1971

PDF: Tim Hilton | John Walker 1972

PDF: John Walker 1972 p240

“What is obtained from architecture, at all levels, is graduated experience. I would regard this as a fundamental problem. …the attempt to fuse all forms of visual imagery with architecture and architectural concepts. It also poses the question – an immensely important one – of whether the essential act of contemplation of a work is at all possible outside that graduated experience…” 

– Peter de Francia: ‘Mandarins and Luddites’, Royal College of Art Inaugral Lectures, 1973

PDF: Peter de Francia 1973

PDF: Raymond Hains (1975)

PDF: Leger | Functions of Painting

PDF: Owen Kelly | Cultural Democracy

PDF: Kosuth | Teaching to Learn

PDF: Kosuth | Teaching to Learn [Full Text]

PDF: Reinhardt | Monotonous & Ugly Spaces

PDF: Jeff Kelley | Westminster 1993

PDF: Prynne & Doctorow

PDF: Reinhardt | Individual 05.04.2014

“We have to refound art on community service as the well-doing of what needs doing.”

– W.R. Lethaby: ‘The Town Itself / A Garden City is a Town’, 1921

PDF: Statements 2018 – 2020

PDF: 28.08.2020 Statement | Notes

‘Everything I know…(kenosis)’ 30.03.2020 | Small painting 1st November 2006

Unlikely happenstance and the aesthetics of coincidence.

“A highly coloured visit [where] less were charmed [and] whoever wrote the land spilled over [and] swirled, lushly underdressed.”

In this very precise sense, for Agamben Paul’s ὡς μή is not a nihilistic structure but rather concerns an attitude of a certain indifference that does not destroy the believers’ old vocations, but does show how the believers do not coincide with their vocations — these are not their identity — and thus allows them to use these vocations freely.

– Gert Jan van der Heiden, et al: ’Saint Paul and Philosophy: The Consonance of Ancient and Modern Thought’, De Gruyter, 2017