Re-membering(s): Being There and Then, and Here and Now

Sue Hawksley

Abstract

This paper considers questions of embodied perception, memory and cognition from a choreographic perspective, through an account of the making and performing of remembering(s), a performance work comprising a series of improvised miniatures in contemporary music and dance.

re-membering(s) investigates the interfaces between performers, between dance and music, and between performers and audience in live improvised performance. What is transmitted? What is lost? What are effective choreographic means to apprehend, frame and articulate the fugitive impressions and traces of what happens in the danced-moment? re-membering(s) emphasises the activities of looking, listening, remembering and reporting, engaging aleotoric compositional methods to present performance strategies and situations pertinent to an inquiry into embodiment.

This paper discusses aspects of the creative process and context of this piece, focusing primarily on the choreographer’s and dancers’ perspectives, and on the role of the interdisciplinary collaboration in the evolution of the work.

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Four Twos - Becoming Immortal - Demons, Decepticons and Devils

Tolulope Onabolu

Abstract

“He who became aware of how genius is produced, and desired to proceed in the manner in which nature usually does in this matter, would have to be exactly as evil and ruthless as nature is. - But perhaps we have misheard. ”1

“If anyone wanted to imagine a genius of culture, what would the latter be like? He would manipulate falsehood, force, the most ruthless self interest as his instruments so skilfully he could only be called an evil, demonic being; but his objectives, which here and there shine through will be great and good. He would be a centaur, half beast half man, with angel’s wings attached to his head in addition”2

In the Michael Bay film ‘Transformers’, Earth is invaded by Megatron and the evil Decepticons to find The Cube (the Allspark with the power to give life and create worlds). Optimus Prime and the Autobots have discovered that The Cube is on Earth - have come to stop Megatron and the Decepticons from getting to it first and to save Earth from domination by the Decepticons who will use the cube to turn every electronic object into robotic life forms. What ensues is a battle between good and evil amidst classical and delirious3 architectural references.

In the Paul W.S. Anderson film, Alien vs. Predator, Alien(s) are bred on Earth as game for Predator(s) using human hosts – Predator(s) come to earth for this seasonal hunting sport. If Alien(s) succeed in outmanoeuvring Predator(s) thus making host of humanity, Predator(s) use a self-destruct mechanism to execute a total purge; if on the other hand Predator(s) win, humanity isspared and they leave to return again. However, in order for this enterprise to prevail, the Predators enslave humanity, impart scientific knowledge on them, teach them to prepare the hosts, build great temples and weapons, and guarantee them relative tranquillity - here we recall aresemblance to architecture and the sacrifices of the Aztecs to their demon-gods.

Beyond the battles of good versus evil, or of lesser and greater evils, we have a representation of a certain attitude towards aliens (foreigners, immigrants, students, ‘deviants’, etc.) and their place relative to health (infection of the host in alien, the cancerous researcher in Alien vs. Predator, the transformation of mechanical and electronic devices in Transformers into Decepticons, etc.) identity and security in a theatre of the weak.

With reference to Alain Badiou, the paper will argue the truth of this representation; it will argue that - as in human subjectivity - the battle between Alien and Predator, not the effective usurpation of one by the other is the agonistic productive force upon which concrete subjectivity is dependent and that the event of the demon-god, devil or tyrant (Megatron or Predator) in its blind brutality is the ‘necessary condition’ for a continued agonistic struggle.

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The role of green space development in renewing a degenerating neighbourhood, a case study from Tehran, Iran

Omid Rismanchian

Abstract

Tehran is the capital city of Iran, occupying some 700 square kilometres in area and with a population of almost 12 million in the city and province. It is located in a semi-arid area and has developed dramatically during the last five decades. As most of the cities in Iran are located in semi-arid regions, open and green spaces are not very common in traditional urbanization patterns. Generally, the only green space to be found in the cities of Iran was the Persian garden which was on private property and not opens to the public. Throughout the modernization era the inattention to open and green spaces continued and many cities like Tehran can be found in the region. Recently, Tehran municipality has set six objectives for the city’s spatial development of which two are directly concerned with green space. The question is that how the municipality can develop open and green space in such a densely built-up city. One of the movements which has attracted the authority’s attention for several decades is ‘revitalization’ of old neighbourhoods. The main characteristics of these low income neighbourhoods are: being vulnerable to earthquakes; low quality of access; insufficient open space; lack of green space; high level of corruption and crime; and high density.

Many studies have been conducted about the values of green and open spaces and their environmental, economic, social and health benefits. This paper aims to highlight the role of green spaces in stimulating the local economy and attracting private sector investment; enhancing people’s satisfaction with their neighbourhood; improving access by focusing on pedestrians and reducing the level of crime in these low income neighbourhoods.

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“Surveyable by a re-arrangement”: notes towards a grammatical understanding of assemblage sculpture

Michael Bowdidge

Abstract

My research uses the making of assemblage sculpture considered in a dialogical relationship to enact a necessary re-reading and interrogation of this subaltern tradition of sculptural practice.
In this paper, I argue that the specific poetic and associational possibilities inherent in this medium remain largely unexamined, as the major studies of this subject (Seitz, 1961, Janis and
Blesh, 1967 and Waldman, 1992) tend to subsume assemblage into narratives which characterise it as a questioning or rejection of pictorialism, rather than acknowledging its own authentic identity and (representational) possibilities, both as a historical practice and as a contemporary strategy for artistic production.
In relation to this Deleuze and Guattari’s use of the term in their work is of some interest, although their writing tends to emphasise “the process of arranging organising, fitting together” rather than “the arrangement or organisation” itself (Macgregor-Wise in Stivale 2005, p. 77). However I argue that, given the linkages between this mode of practice and Wittgenstein’s use of the methodological strategies of juxtaposition and inversion, assemblage is perhaps more usefully re-thought within a grammatical framework which derives from a dialogical exchange between Wittgenstein’s later work (as developed by Mulhall: 1990 and Savickey: 1999) and contemporary assemblage practice.

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Death 1:1

Karen Wilson Baptist

Abstract

This inquiry focuses on the smallest scale of landscape memorial space, the roadside memorial. These small white crosses mark the scenes of sudden, violent death events. The gesture of erecting a marker, adorning a cross with flowers and photographs, then maintaining the site for years is the most basic of all acts of remembrance. The roadside marker “gathers the landscape” (Heidegger, 1971) creating a physical location for grief. Employing a phenomenology of lived-experience (van Manen, 1990) the immediacy of this relationship between memorial form, landscape, and the experience of grief is explored. Findings priorize the role of landscape architecture in the reenchantment of contemporary commemorative culture.

Sometimes the most ephemeral memorials touch us the most profoundly.

(Thompson, 2008b, p.13)

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Telling Stories is like Telling Lies

John MJ Farrugia

Abstract

I am a Canadian / Irish student completing my practice led doctorate within the School of Sculpture. My area of research is concerned with Narratology, the interpretation of stories and ways in which sculptural practice can act as a conduit & transmitter for the re-interpretation and re-telling of narratives. My art making practice operates within an expanded field and utilizes various artefact making process and methodologies such as lost wax casting techniques, performance and sound/audio manipulation.
I am interested in the ways in which we understand stories both visual and textually, how stories are passed on and the ways and manner in which we facilitate this re-contextualization of narratives. My studio-practice is concerned with producing sculptural artefacts, which encompass and radiate the re-contextualized narrative, thus acting in an exegetical manner and producing an angular perspective on specific narratives. My research primarily contributes towards knowledge in an inductive fashion.

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On ‘a&a/090408’: architectural perspectives

James White

Abstract

This paper offers critical insights into potential theoretical and practical cross-overs between the disciplines of ‘art’ and ‘architecture’1 . To this end, reference is made to the written work of a number of practicing architects, namely Jacques Herzog and Pierre de Meuron, Jonathan Hill, Steven Holl, Juhani Pallasmaa, Jane Rendell and Lebbeus Woods. Questions relevant to discussions on cross-disciplinarity will be addressed from a range of theoretical perspectives. How might such disciplines as ‘architecture’ and ‘art’ be defined, in which terms and through which language? If two so-called disciplines are indeed distinct, might it be possible to identify gaps between them, and suggest potential bridges as a result? Might the definition of a boundary between art and architecture, or architecture and art, reveal fields for experiment conducive to inter-, cross- or multi-disciplinary theory and practice? It should be noted that the purpose of this piece is not to provide definitive answers towards the resolution of a cultural conundrum, but rather to suggest a range of approaches and lines of investigation in an on-going discussion, as, in Steven Holl’s words, “a move away from compartmentalizing and mental closing is a move toward an open future”2.

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1 This piece may be read in conjunction with the ‘a&a/090408’ discussion transcript, although no direct quotes are here extracted from its contents, for the benefit of referential open-endedness.
2 p59, Holl (1994).

An Exploratory Study of Sensory Gardens

Hazreena Hussein

Abstract

This preliminary study explores the common issues of sensory gardens around the UK, by observing how they are utilized. Of the fourteen sensory gardens visited, eight were designed by landscape architects. One of these is a health-care centre for adults, another is a primary school and one other is accessible to the public. The rest are special schools, which cater for children with special needs. This study also involves conducting interviews with the designers, teachers, therapists and key expert of the subject. The teachers, therapists and key expert view was that designers should have close collaboration with the users before designing the actual sensory garden as designers often presume that they know what the needs of the users are and how users engaged with the multi-sensory environment. While designers noted that there is a lack of detailed guidelines available when designing sensory gardens for people with special needs.

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Transilient Skyline

Denitsa Petrova

Abstract

This paper aims to contribute to the debate on the shifting roles of art and architecture in contemporary society and the way in which both disciplines play a part in the creation of today’s urban environments. It examines the transitional areas where architecture becomes art and where art becomes an integral part of urban architectural fabric. It discusses the potential of art and architecture collaboration projects, which are stimulated by the continuous transformation of our cities. It explores projects in which both disciplines share viewpoints whilst finding amorphous spaces and ways to collaborate. It discusses works that are believed to define a new form of site specificity – one where human presence is not only required but the body itself becomes the site and the space around which the work is created. It looks into collaborative projects which are inspired by natural ways of creating dialogue, rather than with pre-imposed agendas. Furthermore, the paper aims to provide evidence of even more sophisticated site specificity, where community participation becomes a focus and inseparable part of the work itself.

This paper will be available soon

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a&a/090408

by James White: a discussion with Beatriz Cantinho, John Farrugia, Bahareh Jalalzadeh,
Denitsa Petrova, and Eva Silveirinha de Oliveira (2009)


On 4/4/09, James D. White wrote:
Dear All,

For those of you of the eca GRS2 who are around Edinburgh over the next week, and who might be interested in taking part in an open discussion on art and architecture (or architecture and art) cross-disciplinarity, please read on - for others, apologies for the group email. The plan is that some of us across disciplines at the GRS will be meeting at 11am on the coming Wednesday 8th April in room 2.15, level 2 Evolution House (where GRS Wednesday seminars are usually held) to discuss approaches to art and architecture cross-disciplinarity. This discussion will be open-ended, and may lead to one small synthesis piece for the upcoming first issue of the eca GRS web publication 'Premise'. It could be good to each come along with one or two brief examples of art/architecture collaborations or discussion initiators, and take it from there. If you wish to take part, please get in touch so we can get an idea of numbers.
Many thanks,
James

(MPhil in Architecture candidate, eca)

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