Melioramentum in the Lanes

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SPRIGGS’ MAD FIELDWORK PACE: LONDON AND CORNWALL 14 TO 28 SEPTEMBER

Source: SPRIGGS’ MAD FIELDWORK PACE: LONDON AND CORNWALL 14 TO 28 SEPTEMBER


Draw Me Home Live-art. « Melioramentum by Jonathan Polkest

 

Draw Me at Home Live-art’s Arnold Circus Sharing Picnic Artist Fair 100 « Melioramentum by Jonathan Polkest.


Thanatoscopic phenomenology with Mischa Twitchin by Jonathan Polkest

The Thanatoscope being fitted for Scenographer Mischa Twitchin

 

Thanoscopic revelations being programmed

Phenomenology of Perception

from the preface to the Phenomenology of Perception;
I cannot conceive myself as nothing but a bit of the world, a mere object of biological, psychological or sociological investigation.I cannot shut myself up within the realm of science. All my knowledge of the world, even my scientific knowledge is gained from some experience of the world without which the symbols of science would be meaningless. The whole universe of science is built upon the world as directly experienced, and if we want to subject science itself to rigorous scrutiny and arrive at a precise assessment of its meaning and scope, we must begin by reawakening the basic experience of the world of which science is the second order expression. Science has not and never will have, by its very nature the same significance qua form of being as the world we percieve, for the simple reason that it is a rationale or explanation of the world…Scientific points of view, according to which my existence is but a moment of the worlds, are always naive and at the same time dishonest, because they take for granted, without explicitly mentioning it, the other point of view, namely that of consciousness, through which from the outset a world forms itself round me and begins to exist for me. To return to things themselves is to return to that world which precedes knowledge, of which knowledge always speaks, and in relation to which every scientific schematization is an abstract and derivative sign-language, as is geography in relation to the countryside in which we have learnt beforehand what a forest, a prairie or a river is.
Maurice Merleau-Ponty.

preparing the body of the Thanatoscope from selected timbers

preparing the body of the Thanatoscope from selected timbers

To build the Thanatoscope from hardwood was to continue the traditions of the instrument and clock makers at the turn of the last century and before, hardwood is valued for its stability and unlike metal it is imbued with the “naturalistic attitude” of objectivity through seasons of steady growth, immersions and susceptibility to seasonal fluctuations, coldness, heat, wetness, dryness through the moderating parameters of its being a former tree, imbued with manyfold influences and deep seated characteristics which extol discernible aesthetics by simply existing.
Although hardwood is stable, the inside of the Thanatoscope would be painted with a reflective Gesso Sottile made from hide glue and Cornish China Clay and the outside would be dyed with a black stain obtained by collecting Ink Fungi after being covered in Irish Flax.

Designing the Thanoscope

Designing the Thanoscope

 

Designing the Thanoscope

Designing the Thanoscope

 

Thanatoscope being constructed and assembled

Thanatoscope being constructed and assembled

Materials that recall their existential genesis, described by Merleau-Ponty as the Logos of the aesthetic world, he understands the term ‘aesthetic’ in the original Greek sense of aisthesis, meaning primary mode of experiential expression which embraces both perception and imagination.

Fitting heat exchange receptacle for light source to the Thanoscope

Fitting heat exchange receptacle for light source to the Thanatoscope

 

Thanatoscopic experiments with living people

Thanatoscopic experiments with living people

 

Thanatoscopic experiments with living people

Thanoscopic experiments with living people

 

Thanatoscopic experiments with living people

Thanatoscopic experiments with living people

 

Thanatoscopic experiments with living people

Thanatoscopic experiments with living people

 

Thanatoscopic experiments with living people

Thanoscopic experiments with living people

Thanatoscopic experiments with living people

Thanoscopic experiments with living people

 

Thanoscopic experiments with living people

Thanatoscopic experiments with living people

 

Mischa Twitchin adjusting the spectral vicissitudes of the Thanatoscope

Mischa Twitchin adjusting the spectral vicissitudes of the Thanatoscope

 

Preparing the Thanatoscope for specially prepared screens of glass and wax.

Preparing the Thanatoscope for specially prepared screens of glass and wax.

 

Preparing the Thanatoscope for specially prepared screens of glass and wax.

Preparing the Thanatoscope for specially prepared screens of glass and wax.

 

Preparing the Thanatoscope for specially prepared screens of glass and wax.

Preparing the Thanatoscope for specially prepared screens of glass and wax.

 

Sensitizing by Transferring the emulsion onto the waxed screen

Sensitizing by Transferring the emulsion onto the waxed screen

The hand of Phenomonology

The hand of Phenomonology

 

The hand of Phenomonology

The hand of Phenomonology

A Video of Mischas performance with the Thanatoscope will appear here when I have the time/knowledge.

 

 

 

 

 

 

 

 

 

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Melioramentum Killip

Caliban beyond the stage

Cover jacket of the Things that changed other things

Page one of Things that changed other things, a sketchbook project that is archived by the Brooklyn Art Library ,who allocated broad themes hence the clunky Things that changed other things, specifically;unspecific more absolute generality wherein the fiction of history as a fixed datum is bashed into a more user friendly prospect. Focusing upon the mournful but oblique looking stone-lined cockpits that would appear each autumn from beneath the dying bracken on the Isles of Scilly, Cornwall. These kilns or Kelp Pits have a pragmatic history that seems hellbent on refuting any humanistic element. Surely such long suffering landscape features have more to reveal than being a handy place for a childs game or even a seabirds nursery, used sometimes in what may seem defamatory as a barb-e-que by the serendipitous tourist.

Map of Tolls Island Ynys Tolmaen, Pelistry /Pwlystreath

Maps layered and fused

The Kelp Pit, subject of School natural history rambles and picnics on uninhabited islands ,

is imbued with an array of socio historical strands that lead to many further questions. Starting on The Isles of Scilly we see an early development in Soda Ash making , introduced from Brittany with whome The Isles of Scilly and Cornwall were much more favourably aquainted than the heavy handed Landlords  of English Monarchy. A Mr Nance whose name would stem from Nantes, Brittany was licenced by the afformentioned authority to burn Kelp in the manufacture of Soda Ash on Gwynynys :White Island, (Blessed Island) and Tean Island. to this day the “local” name for the inhabitants of St.Martins Island is Gynyk, dialect is rapidly being transformed by mass media and relocation but this would appear to be poetic link as well as a potentially informative one. The remaining Kelp Pit evidence on Scilly is scant compared to the former activities popularity, one perfect example on the island of Gugh, some on Samson Island, some on White Island and some on Tolls Island, they seemed less valued than the bronze age antiquitaries of which there were and are, so very many excellent and unique examples. The socio historical connections with Kelp Burning are generally centred on the the widely accepted inhumane clearances of the Scottish peoples, who like their Cornish counterparts were forced to leave their homelands and resettle in the colonial margins that had been acquired by the very authority responsible for their eviction. Kelp Burning was, it seems a cash crop situation that bought actual money into the equation as opposed to subsistence of farming and fishing which provided food and shelter, possibly some other tradeable materials but Kelp was bought for cash, it involved the whole family and although licencing was imposed by the English , it seemed to be a way out of the cyclic seasonally dependent existence. Writers like Quiller-Couch attempted to romantice Kelp Burning by transforming the act of burning a six hour bonfire into a ritualistic ceremony with pagan attributes, this treatment was clumsy as I believe there are real connections of  gnostic and sacred history with Kelp Burning, the alchemical act of transforming an elemental feature such as seaweed into a chemical to be used in the process of textiles, linen bleaching, aniline dye manufacture, early photographic chemistry, medicines like Iodine and later alginic acids in foodstuffs and manufacturing processes.

The Seaweed Gathering Communities

Scillonian Kilpers

Scillonian Kilpers

Scillonian Kilpers

John Stackhouse

John Stackhouse

Tolmaen Ynys

Tolls Island Kelp Pit

Scillonian Kilpers

Scillonian Kilpers

From Scilly to Nailsea Glass

From Scilly to Nailsea Glass

Sketch Book Notes

Sketchbook notes

Sketchbook Notes
Sketchbook Notes

Sketchbook Notes

Sketchbook Notes
Sketch Book Notes

Sketch Book Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Sketchbook Notes

Bristol Glass

Bristol Glass

Bristol Glass

Bristol Glass

Basquelands

Basquelands

Pwlystreath

Pwlystreath

White Island Gwynynnys Blessed Island

White Island Gwynynnys Blessed Island

Seaweed Islands

Seaweed Islands

Andrew Pears of Mevagissey

Andrew Pears of Mevagissey

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1

All books will be included in an exhibition that tours the following cities:

Brooklyn, NY Austin, TX San Francisco, CA Portland, ME Atlanta, GA Chicago, IL Washington, DC Winter Park, FL

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April-monthlies-small
303 Grand
Brooklyn, NY
2010 Sketchbook Tour
303 Grand
Brooklyn, NY
2010 Sketchbook Tour
Sketchbook

The Sketchbook Project: 2011

Bristol Glass

Bristol Glass

Telegraph Tower Isles of Scilly observer

Telegraph Tower Isles of Scilly observer

Telegraph Tower Isles of Scilly observer

Telegraph Tower Isles of Scilly observerField Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Field Sketchbook

Endpapers

Endpapers

Finnesterre mon amour

Finnisterre mon amour

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Kelp Pit; "Killipit" retraced in woolen yarns by Jonathan Polkest in a small painting.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Home live Art & Friends of Arnold Circus Sharing Picnic 100

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The Post Post

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