Category Archives: Uncategorized

It’s roughly five years ago that I gave up programming. I gave up in the midst of a long project that involved the recursive subdivision of regular polygons. This makes it sound like I was some expert in geometry, but … Continue reading →

Note to self: consider the relationship between the experience of wider social change associated with globalisation (the spatial extension, temporal speed and overall intensification of processes of flow, communication and exchange) and the experience of programming. Coding shapes a microcosm … Continue reading →

It is quite possible, of course, that I learned nothing from code, that any lessons that I discern now are simply self-serving – enabling me to shape a productive relation to an experience that could equally be represented as one … Continue reading →

Code led me to think more discretely. It enabled to conceives processes and systems in modular terms. Code also enabled me to think more holistically – to consider systems as sets of choreographed entities and processes. Of course, systems also … Continue reading →

Rather than attempting to map an entire creek, I am considering representing a single section of a creek in detail – at a scale of 1 to 1. Furthermore, rather than attempting to represent the selected site via a single … Continue reading →

At the beginning of his second volume of The Philosophy of Nature Hegel writes of the nature of sunlight. Arguing against the view that sunlight is the product of material (chemical) combustion – and thus any sense of an association … Continue reading →

Some sample efforts at ground level studies for upcoming ‘Walking Upstream – Waterways of the Illawarra’ exhibition at Wollongong City Gallery:

While browsing through books on aesthetics in the UOW library, I came across Eighteenth Century Aesthetics and the Reconstruction of Art (Mattick, P. (ed.), 1993). Bound in black and covered in a thick layer of dusk, the book had only … Continue reading →

We shift now from focusing on the artistic medium as the bridge to dimensions of experience that exceed rational forms of understanding to focusing on experience itself as a medial condition. There is no longer a need to posit the … Continue reading →

At one level, I can conceive the aesthetic in particular terms, but then quickly discern other possibilities. I am tempted, for instance, by the 18th century notion of the aesthetic as concerned with the realm of sensible experience, but am … Continue reading →

Leibniz introduces the uncertain space of apperception. This can be related to the sphere of art and aesthetics. Perhaps it is the prefix ‘a’ that is especially pertinent? In the sense of ‘no, not, without, away from, negative’. Apperception represents … Continue reading →

I envisage a project that involves myself and later others walking up into the Budawangs mountain ranges, stopping here and there for a few hours, a day or several days to form small camps and read and transcribe short books. … Continue reading →

Aesthetics is not fundamentally about discriminating between the ugly and the beautiful, art and non-art. Aesthetics is not fundamentally about beauty or art, these are simply allied concepts. Aesthetics engages a space of mediation. For the 17th century philosopher Alexander … Continue reading →

I think therefore I have the capacity to entertain the possibility that I may not exist. [Every so often impressions of consciousness are construed as coherent existence. A chair does not ask itself if it exists, nor does it need … Continue reading →

A few years ago I wrote a brief manifesto defending the value of processes of following: A MANIFESTO OF FOLLOWING What are the implications of following? Where does following lead? Instead of trying at every instant to do something new. … Continue reading →

I think therefore I am. I know that this has been considered innumerable times, I know that I need to read much more on this inexhaustible topic, but still can’t avoid making a minor, ill-educated comment.  The statement adopts the … Continue reading →

At first glance it is difficult to detect a relationship between Agnes Martin’s 1960s minimalist (or possibly abstract expressionist) paintings and the titles of the works, which often reference conventionally picturesque aspects of the natural world – ‘flower’, ‘mountain’, etc.  … Continue reading →