Monday, 30 August 2021

Significant Yellow Item: #2021.Y004.2 (Third Encounter)



All Images: August 2021


The third instance was characterised by a profound enmeshing.  The grid of cells became scalar and realigned with an architectonic reverie.  The implications of this visitation were being made concrete - stacked within the greater fabric  and swatch-clad.  The clear evidence of adaptation indicated that infiltration was already well advanced  



Time flowed in opposing directions. This new encounter aligned with a spent golden hour.  The presaging was retrogressive, and testament to the wasted disease years.  Chronology -  elasticated.  Wavelengths - extended.



The theory of colour could not be ignored.  But this was the fluid triumph of lumens.  The functions of glow and shimmer defied cataloguing.  Standard frequencies shifted and emanated from within.  Geometry began to dissolve.  It was a sublime facade.



Within the container, the occupants might survey yet greater perspectives.  The loss of resolution signified a greater unification.  Might even a subtle warping be detected, perhaps?  They could gaze down upon the glistening lines, as travellers returned, speculating upon new, unimagined realisms.  Or else - south and east, to the dispatching zone, from whence the infection took hold.




Tuesday, 24 August 2021

The Unlabelled Land

 



All Images: West Leicester, August 2021



Is This The Place...


Where the ramp slopes down?

Where Transit awaits?

Where opportunity retracts?





Where sentences are unsuspended?

Where meaning is disassembled?

Where a legend leans?





Where Time runs backwards?

Where the past flows in?

Where memories are constructed?





Where the map refreshes?

Where cartography is provisional?

Where the city adapts?





Where the sky's blank eye gazes (and fails to record)?

Where resolution varies?

Where nothing was registered?





Monday, 16 August 2021

'This S(c)eptic Isle': Notional Pride 4

 


All Images: West Leicester, August 2021



"In the era of the Zoom interview, it seems government ministers believe nothing signals their patriotic credentials like a union flag placed strategically in the background.  










"But away from spare rooms in ministers' homes, new spending figures also highlight the increasing embrace of the flag by the government under Boris Johnson's premiership - whether motivated by Brexit, Scottish nationalism or the so-called culture wars.










"Spending on union flags has increased in virtually every government department since Johnson entered Downing Street, with more than £163,000 spent this year and last.  It accounts for 85% of union flag purchases over the past four years." [1.]












Monday, 9 August 2021

S.I.T.E (Midlands Chapter): Location Re-Port (M.)1.2

 


All Images: West Leicester, August 2021


Recent routine surveys have revealed a notable physical change at the site identified in instalment (M.) 1.1. of this ongoing re-port phase.  The specific details of this change, and any picturesque associations or speculations regarding causation, are included below.

Whilst these observations were made during the first week of August 2021, and filed with Central Office promptly (within the required forty-eight hour period), it is impossible to determine the exact date of the change illustrated in the accompanying images.  A combination of competing commitments, restrictions on movement and travel (pertaining to the current, on-going emergency), and the unfortunate cuts to both funding and (as a result) available resources/staffing levels, have made daily, or even weekly, survey visits to the site impossible.



Whilst we may regret the temporal vagueness that this may engender, we remain confident that the field agent responsible for filing these observations has done their utmost to carry-out their allotted duties in the required manner, and as promptly as the difficult circumstances allow.  We have no reason to doubt their estimate of the change having occurred some time within a time-frame of approximately three to four weeks prior to the formal observation being recorded.  We are satisfied that periodic visits to the site were made over the weeks of Summer 2021, but accept that many of these were of a peremptory nature - with observational rigour being compromised due to the urgency of other, competing site visits or other distractions.

For these reasons, we are content to accept the field-agent in question's identification of the earliest possible date of any considered survey prior to the observed change as falling within a two-day period toward the latter stages of the first week of July 2021.  Whist being indicative of the paucity of accurate time-coding, which unfortunately continues to characterise many of our activities, we would point-out that our performance, in this respect at least, has shown measurable  improvements  over the eighteen-month period since our last formal audit.  As an organisation, we remain committed to making the necessary improvements recommended by the auditors at that time, wherever possible.

As can be observed in the accompanying site images, the observable change takes the form of localised impact damage, inflicted to the right-hand main window of the premises in question.  Although it appears to have been impossible to record a fully frontal image of the building's frontage, comparison with the images included in the original version of this re-port leave little room for doubt that this is the same location.  In passing, we might add that we remain broadly satisfied with the documentary quality of the images filed by this particular  field agent, whilst recommending that further training might be advantageous at some future date, (with specific regard to a deeper understanding of the relationship between objectivity and subjectivity in submitted images).



The damage identified is clearly concentrated slightly to the left of the central glass pane (front elevation).  The overall integrity of the pane, whilst compromised, is (for now) maintained - with the characteristic web-form of the heavily shattered portion, and distinct indentation at its epicentre, suggesting it to be of the laminated variety.  Whether or not this indicates a greater degree of care being invested in the premises than was previously assumed (laminated glazing being generally more expensive), remains a matter of conjecture.

We would draw viewers' attention to the sparser complex of more elongated cracks, extending with a generally diagonal orientation from upper-left to lower-right of the pane.  Whilst of clear structural importance, it is also our view that these add significantly to the overall 'beauty' of this particular visual event.  Indeed it may be the relationship between these wandering, linear fissures, and the denser network of concentric fractures from which they radiate, that stimulates the primary mode of visual tension here.  It should be noted that this is considerably intensified by the bright-sun-lit conditions in which the feature was observed/documented.  The relationship between heightened illumination, and the transparent and potentially brittle characteristics of glass, is one which rarely fails to provide arresting visual effects/implications. Certainly, we would encourage field-agents to pay particular attention to, the influence of illumination, atmosphere and climatic conditions, upon their observations, going forward.

Further reflection upon the particular visual qualities of the physical intervention at this site might also suggest that it represents both a rhizomorphic formation, and a specific moment of gathering intensity, with the connective implications of the former extending away from, but also towards, the latter - whilst remaining within a clearly-bounded frame of reference.  We are also prompted to question whether the overall network of cracks might be read as both a microcosmic charting of territory, as well as a chronologically-orientated record of events.



Whilst engaging with the dimension of temporality, we should also make some reference to the visual relationship between the visual/physical aspects of the window damage (new event), and the aged net curtain behind the glass (prior/on-going event).  Both suggest specific and highly-contrasting purposes (action vs. passivity / aggressive intrusion vs. defensive privacy), unfolding within very different time-frames.  Their interaction might be read both as an accumulation of screens, or contextual filters of potential meaning, and a layering of interference patterns (obscuring/veiling).  However, in maintaining our customary suspicion of purely binary interpretations, we might conclude that 'veiling' might itself also constitute an additional layer of meaning, in addition to its obscuring function.  In either case, it might be observed that the cumulative damage represents clearly imminent lines of flight/egress, and an obstructive stratification of possibility, at one and the same time [1.].

At this stage, it perhaps remains only to consider the motivations or desiring machines at work behind the action thus recorded on the fabric of the site.  Sadly/joyfully, a lack of specific evidence, or first-hand witness accounts mean this remains a matter of conjecture [2.].  That the damage was caused by some hard or sharp (and relatively small) projectile seems beyond reasonable doubt.  That it met the glass with considerable force, is also apparent.  Beyond this, we remain firmly within the realm of 'what if's', (although further research will continue to be carried-out, time/resources permitting).  The relative scarcity of recorded gun-crime in this neighbourhood might lead to the more likely, if prosaic, possibility that the damage was caused by the impact of a thrown stone, or fragment of masonry.  As ever, some purely random conjunction of accidental factors cannot be wholly ruled out.  Nevertheless our prevailing opinion is that the distinct quality of intention emitting from the recorded event appears too profound to ignore.  Whatever else may or may not be signified here, it does seem to suggest a definite desire to 'break-through'.



Should the latter be the case, the exact motivation still remains obscure, existing somewhere on a scale that might include any one of the following: mindless vandalism (possibly alcohol or drug-related), a mis-targeted personal attack, some petty act of direct action in protest against, for instance - the perceived iniquity of property speculation (or perhaps, the site's perennial inscrutability regarding actual function), some dispute (real or imagined) between the perpetrator{s} and the property's owners/operators, or some violent objection to those activities known to, or assumed to be carried out within the premises.  With regard to the latter, we can only refer readers back to certain of the more esoteric speculations raised within the original re-port relating to this site.

As ever, we remain open to any, or all of the possibilities outlined here, and anticipate further developments at this site with interest.  We also welcome any useful information or constructive opinions relating to this specific case, from interested parties outside of our organisation.


Addendum:

Between the writing and publication of this draft, another feature of possible significance has been drawn to our attention.  This relates to the somewhat insubstantial appearance of what appear to be floral blooms in the bottom left corner of the left-hand main window of the premises (see second image above).  From the evidence presented, it is impossible to definitively ascertain whether these are actual flowers situated within the building itself, or simply some illusory reflection from the exterior street.  Whilst it is naturally a matter of some frustration that this observation should not have been made and recorded earlier, it would be yet more remiss of us not to make note of it here.

It goes without saying that the presence of freshly-cut flowers within the building itself would engender a range of new questions regarding the possible status/purpose of the premises, as well as speculations on the activities or rituals potentially carried-out within.  Thus, we have instructed the relevant field agent to revisit the site at the earliest possible opportunity, in the hope of at least shedding more light on the exact nature of these 'phantom blooms'.  We await their report with keen anticipation.  We also note that the whole potential for photography to routinely release such phantoms, is itself a subject worthy of greater examination - far beyond the scope of this re-port process.


 

[1.]:  With regard to the issue of 'layering', and the general fluidity/solidification dichotomy, certain, more sonically focussed, members of the Interpretation Committee have also requested that we append here, a possible linkage to the polyrhythms and overlapping layers of melody or aural texture evident within many forms of contemporary (often electronic) music and sound design.  They continue to regard such avenues of investigation as being on an equal footing with the more visual/literary/philosophical facets of our research.  As a governing body, we see no reason to disagree.

[2.]:  This is, naturally, no obstruction to our activities.  Indeed, it is far from unusual to overhear members observing that not-knowing is at the core of our organisation's purpose.  




Wednesday, 28 July 2021

Completed Studies: 'Techno 013 - 016'

 


'Techno Study 013', Mixed Media on Paper, 300 mm x 300 mm, 2021


The series of small, relatively inconsequential 'Techno Studies', which I've been working on in recent times, is now complete.  As already discussed, these started as a slight (although aesthetically sympathetic) diversion from the somewhat more preconceived methodology of my 'Constructed City' paintings.  As such - they've served their purpose, I think.  If both phases of work share a pretty rigorous aesthetic - characterised by strict, layered geometries and a shrugging-off of my customary textual elements, there are also clear distinctions, which feel more significant (to me at least).





Primarily, this amounts to an immersion in an improvisational approach - in these studies, versus the more process-based deliberations of the 'CC' pieces.   And, whilst they were specifically (if obliquely) connected to specific city locations, and to certain associated reflections upon the nature of contemporary urban development (potentially - at least), these carry little or no such thematic baggage.  There may be a certain architectural aspect to many of the little 'Technos', but their primary raison d'etre remains a purely intuitive response to the rigorous Techno music I was listening to (almost exclusively) for a while, earlier in the year.  






The grid-based organisation of these compositions, and strict adherence to perpendicularity, may have become policy as the series evolved - but still feel like a pretty route-one response to the structures inherent with the music itself.  The nuanced and layered surfaces represent little more than a cheerful embrace of self-indulgent painterliness, and the attendant harnessing of seductive accidents.  That they may also reference the more atmospheric elements, or textural detail of much Techno, is a fortunate by-product.  The completion of the full set of sixteen is a pretty logical justification of the four-square/four-squared rationale therein, but also a reflection of my willingness to just keep going whilst doing so remained fun.






Ultimately, what may also be true - is that these really represent little more than a recourse to various comfort zones.  There's little here that I haven't tried before, to some degree or other, and the overall aesthetic and methodology refer to the twentieth century, far more than the twenty-first.  I won't beat myself up too much about that, and it could likely be justified on hauntological grounds alone - I'm sure.  However, my recent dilettante engagement with certain 'difficult' philosophical texts persuades me that more expansive lines of creative flight, and an embrace of more rhizomatic connectivities are likely to be more rewarding than recourse to old, established or 'striated' modes of thought/activity.



'Techno Study 014', Mixed Media on Paper, 300 mm x 300 mm, 2021


However, this isn't really the time to go further into such reflections.  I've merely scratched the surface of a few slightly convoluted concepts, and am already starting to process a slew of different ideas and possibilities as a consequence.  Not least amongst these are how my own work should progress in coming days.  However, it doesn't really feel like simply working this imagery up into more substantial works, purely for the sake of it, is really the road I want to take.  For now, I'm content for them to remain that aforementioned detour - and possibly one taken along an attractive, slightly quaint back-route.  I think it's probably time to seek out some different ones - or even to draw some new ones on the map altogether.













'Techno Study 015', Mixed Media on Paper, 300 mm x 300 mm, 2021














'Techno Study 016', Mixed Media on Paper, 300 mm x 300 mm, 2021
















Friday, 23 July 2021

Deleuzeian Diversion 1

 


Central Derby, July 2021



"Production is not recorded in the same way it is produced.  Or rather, it is not reproduced within the apparent objective movement in the same way in which it is produced within the process of constitution.






"In fact, we have passed imperceptibly into a domain of the production of recording, whose law is not the same as that of the production of production.






"The law governing the latter was connective synthesis or coupling.  But when the productive connections pass from machines to the body without organs (as from labour to capital), it would seem that they then come under another law that expresses a distribution in relation to the nonproductive element as a 'natural or divine presupposition' (the disjunctions of capital).






"Machines attach themselves to the body without organs as so many points of disjunction, between which an entire network of new syntheses is now woven, marking the surface off into co-ordinates, like a grid." [1.]








[1.]:  Gilles Deleuze and Felix Guattari, 'Anti-Oedipus: Capitalism and Schizophrenia', (Trans. Robert Hurley, Mark Seem & Helen R. Lane), London/NY/Dublin, Bloomsbury, 2013 (Originally Published 1972).




Thursday, 22 July 2021

'This S(c)eptic Isle': Everyday Satire

 


The Property Doom Continues: Central Leicester, July 2021


At this stage, it feels like life in the UK can pretty much satirise itself unaided.