interiornotations-blog

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Invitation to partake

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Do as I show (and please don’t ask questions)

Looking at notation as instruction. How can I instigate body-movement and shape with written communication or oral direction?

These diagrams were quickly made for a separate project with very different context. I asked my housemate, Nina, to respond to the diagrams without any more clarification by me. 

It’s interesting to note how Nina’s ‘core’ (brain or intuitive reaction) makes-do with what she had around her... or omitted the object in the picture altogether for the action/position. 

In presenting this relationship between the user and ‘instruction’, I’ve experimented with overlaying the diagram on top, in varying intensity (size, composition)

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Part 2: 

Every day at 9.10am (aiming for my kitchen bench)

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Part 1: 

Every day at 9.10am (aiming for my kitchen bench)

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Quotes taken and thoughts made.

Jane Rendell;: Site Writing 2008

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http://www.bridielunney.com/Desire-will-not-hold Consistently thought-provoking in relation to themes of body, notation and performance… and control; when does Bridie stop becoming the ‘designer’ when the dancer/performer is asked to intuitively respond to the space? Even there are instructions, the performer must make (very sub-conscious?) decisions (or reactions) on the extension of limb, the shapes of their body, timing, speed etc. 

Also, in what ways do objects and architecture intersect, blue or challenge these relations?

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Body as a mode of notating immediate interpretation + interaction of site.

I was attracted to this space in the far north-east corner of the cbd square, for reasons I maybe don’t need to articulate. An ‘empty’ kind of space with not-in-use building materials, neatly kept around a corner.

Rendell’s suggestion of critics innately having reactionary judgement and discrimination of art works (that they “perform”) invited me back to Bridie Lunney’s method of re-ordering and re-arranging sites for new relations. Lunney looks at negotiation between the “abject” body and architecture and, in great interest to my practice, how bodies move through space. The objects I moved and re-placed offered up other immediate forms of notating site. The “beginning” location and placement of the objects and surfaces impressed and marked other information that the site absorbed over time. My body’s re-arranging instantaneously communicated new information of the site’s present qualities; the shadows and light of the now moving thin, flexible beams, the wind being exhibited, the (now displayed) marks made in the gravel from the stillness of the objects over time.

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Immediate notations after my body has left. Light, shadow, wind, light, materiality, weight, volume, distance...

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Before and afters, all mixed up. Working with immediacy, with body action + film + photograph give chance to come back at different points in time and “read” the situation in different manners, drawing out different information.

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Meeting of past and current thoughts/work. Mash-up of Matthew Day, Sol Le Witt and Yoko Ono pieces, edited and curated by myself. Oral direction influencing bodies and their meeting with/in a space, in ways that support an attentiveness to their surrounds. Here, the bodies are notating through drawing, walking, collecting (selecting) and filmed (by me).

When does notating become design? 

Must notation follow design?

Edit: film pending upload errors/issues

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Introduction to thought and research on bodies notating and activating space [linking works and interests across my studies]

Thinking about collaboration, differing abilities of bodies, ethics, language, time and meaning. Is this interior design? Does that differ from “critical spatial practice” (Jane Rendell) When does notating become design? Must notation follow the design?

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Shadow study: Nina’s studio every day at 8.50am 

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Making sense of things, how to learn from texts. Boxes, squiggles, underlining (with variation and hierarchy), explaining terms. About the photo, ending as a photo? Photo talk inception?

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Found on campus 👀

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In between posts. I created this when thinking-out my reflexive processes or “methodology”. How I come to a site and engage with it, and how that differs for you. Perhaps a more specified reiteration of notating Intuition as Method?

However, I came back to this after reading and engaging with “The Theory of Affordances” (J. Gibson)

What affordances do cigarettes offer? They’re a confusing mix of manipulated or manufactured surface/s, object discrimination (how and why to use the object) and nutrition?... Maybe nourishment in a different sense. 

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Layers of screens communicated through presence/walking

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Communicating materiality of surfaces