Permeable~Other~~Spatial Bodies: Affective Differentials of Encounter
Moreton’s images do not simply record situatedness; they resist its closure, allowing its material and affective relations to continue producing atmospheres that cannot be fully anticipated.
- Resistance names the interruption or pressure through which an image unsettles established ways of seeing and reading.
- Indeterminacy names the fact that the image cannot be exhausted by a settled recognition or interpretation.
- Affect concerns the capacities and changes arising through encounters between bodies, images and situations.
- Atmosphere names a situated, relational condition that may emerge through those encounters.
- Spatial timbre names the particular sensate quality through which these relations become perceptible.
These are working distinctions rather than fixed definitions; their value is that they let the concepts remain in correspondence without collapsing into one another.
The reading apparatus attends to a spatial timbre emerging through asperity, resistance, repetition, grain, blurring and superimposition. These are not simply visual properties to be identified or interpreted. They are sensate operations through which images gather, disturb and carry one another into other affective bodies. Each makes a different demand upon attention; each introduces a resistance to the image becoming settled, transparent or entirely available to understanding. Their correspondence is not a convergence of meanings, but a troubling and touching migration between bodies that remain materially and affectively distinct.
The withdrawn ceramic body occupies a particular position within this gathering. Photographically, it is the most realistically represented: its material presence, surface, apertures and spatial configuration appear more immediately available to recognition. Yet this apparent realism does not secure the ceramic as a stable or self-contained subject. The more insistently its body is rendered, the more the indeterminacy of its representation becomes perceptible. What appears materially present cannot be exhausted by what the photograph makes visible. The ceramic gathers something from the other images without becoming their synthesis; their grain, blur, repetitions, abrasions and superimpositions continue to trouble the conditions through which its body can be seen and felt.
The photographic image therefore does not simply document a withdrawn ceramic body. It becomes another body through which the ceramic enters correspondence. Its apparent realism provides a point of material recognition, while the indeterminacy operating within that recognition opens the image to relations that exceed the represented object. The ceramic becomes available to affective futurities not because it contains them in advance, but because its photographic presence remains susceptible to the other bodies gathered around it. The image is touched by what it cannot fully represent, just as the ceramic is made perceptible otherwise through what the other images bring into its vicinity.
Asperity and resistance become important here because they interrupt the expectation that images should yield a coherent whole. Repetition does not simply reinforce identity; it alters the force with which a body returns. Grain makes the image perceptible as a material register rather than a transparent window. Blurring unsettles the distinction between presence and disappearance, while superimposition brings different spatial and temporal registers into contact without resolving their differences. These operations produce a spatial timbre: not a common tone shared by every image, but a sensate quality arising through their uneven correspondence.
Such correspondence is both troubling and touching. The images trouble one another's apparent autonomy, yet they also make one another available to further encounter. Their migrations are not movements towards a final interpretation. They are movements through which an image becomes capable of affecting and being affected by bodies beyond its immediate frame. The withdrawn ceramic persists within this ecology as a materially particular body, while its photographic representation remains open to the pressures, textures and atmospheres of other images.
The reading apparatus does not seek to establish what these images finally mean. It attends instead to how they continue to matter through one another: how resistance becomes receptive, how repetition becomes difference, how blurring opens a threshold, and how superimposition produces an intimacy without convergence. The ceramic is most recognisable at the level of representation, yet this recognition becomes the occasion for something less determinate to emerge. Its realism does not close the image; it gives indeterminacy a body through which further affective relations can take place.
What gathers here is not a unified image-world, but an ecology of persistent bodies whose correspondence remains in motion. Their spatial timbre is felt in the unevenness of their contact—in what resists, what returns, what blurs and what becomes newly perceptible through proximity. The withdrawn ceramic body persists, but its photographic body continues to be troubled by what it encounters. Its futurity is not pictured in advance. It emerges through the migrations of feeling that the image gathers and releases into other bodies.
The Forum, Norwich : Research Outpost #2
RELATIONSCAPES
Movement, Art, Philosophy
Erin Manning
Prelude : What moves as a body returns as a movement of thought
Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.
Gilles Deleuze, Difference and Repetition
AN
ANTHROPOLOGY
OF
LANDSCAPE
Christoper Tilley, Kate Cameron-Daum
Materiality
From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.
It forms a material medium in which we dwell and move and think.
Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.
Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.
Field Observations
Spatial relations within the landscape are complex.
The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.
Embodied Identities
Art in and from the landscape
Fragile Environments : Nature and Culture
On Ways of Walking and Making Art
A personal reflection
M Collier
Making art is a practical application of phenomenology
Engaging with an embodied experience of space and depth (what Merleau-Ponty called the 'flesh of the world').
WATERLOG
Journeys Around An Exhibition
Landscape and Memory
AFTER SEBALD
Essays and Illuminations
Edited by Jon Cook
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