Intercorporeal, Intersubjective, Imaginary and Rational Spatialities: Between Existence and Abstraction

Untitled © Denise Startin

“If a person feels inside a place, he or she is here rather than there, safe rather than threatened, enclosed rather than exposed, at ease rather than stressed. Relph suggests that the more profoundly inside a place a person feels, the stronger will be his or her identity with that place.”

‘Space is multiple. Such multiplicity is both the precondition for and the result of spatial practices. Spatiality and practicality ground one another. There are different ways of attempting to grasp this co-dependent multiplicity. For example,

“…Relph defines four sorts of space, or knowledge about space, produced by different relationships to places. At the first step ‘pragmatic’ spaces are organised by our bodily situation (left or right, up or down). Second is perceptual space, organised through our intentions and centred on us – what we focus upon, what we look at, thus tending to be centred on the observer. Existential space is informed by cultural structures as much as our perceptions – it is space full of social meaning. This space is defined in relationship to some human experience or task. Finally, cognitive space is how we abstractly model spatial relationships.” (Crang, 1998:110). While this is a valuable starting point, recent re-thinkings of the phenomenological heritage, within which Relph lies, may point to a slightly different classification, coordinating person-hood with place-hood. This schema is based on the intercorporeal (as embodied-situated interaction), the intersubjective (as symbolic, performative, narrative interaction), the imaginary (as fantasmal, intracorporeal, medial-virtual interaction) and rational (as geometric, logical, coded interaction), each with their different degrees of freedom. Each of these four dimensions may or may not be well integrated and may well be skewed in various different directions, such that, for example, one’s fantasmal imaginings may begin to dominate and render unsustainable one’s intercorporeal and intersubjective relations. Through integration of these dimensions, spatial practices coordinate, integrate and separate spatialities centred on the self, and its motivated engagement with the world, with the spatialities that derive from geometric and logical calculation and fabrication, the structures of the designed and manufactured world. This is to acknowledge, while re-articulating Heidegger’s focus on care:

“Heidegger does not talk about intentions so much as care. Since we are always engaged with the world, we must focus our attention on particular aspects at any given time. We thus have different types and levels of care for different things at different times. The world might then be seen as comprising different levels of care.” (Crang, 1998: 110). The conclusion that Crang draws from this passage above, in which Relph interprets Heidegger, is that (human) knowledge of the world is always em-placed. It starts from and continues to be based around places as centres of care about the world. Thus, notes Crang, employing this approach suggests that we make sense of the world through the materials at hand, not from abstract schemes.

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Place Making > Placing Self

Heidegger’s Hutte, Todtnauberg, Black Forest, Germany

“…place is that open, cleared yet unbounded region in which we find ourselves gathered together with other persons and things, and which we are opened to the world and the world to us. It is out of this place that space and time both emerge, and yet the place at issue here also has a dynamic character of its own – it is not merely the static appearance of a viewed locale or landscape, but it is rather a unifying, gathering, regioning – place is, in this sense, always a “taking place, a “happening” of place.”

Malpas, Jeff, Heidegger’s Topology, Being, Place, World, Massachussets Institute of Technology, 2008, Chapter 5 Place and Event pp.221. Image reproduced from http://faslanyc.blogspot.co.uk/2011/10/landscape-delicatessen.html

Between being and becoming

negative space

Negative Space © Denise Startin

‘As Stuart Hall reminds us, identity is a matter of becoming as well as being:

It belongs to the future as much as to the past. It is not something which already exists, transcending place, time history and culture. Cultural identities come from somewhere, have histories. But, like everything that is historical, they undergo constant transformation. Far from being eternally fixed in some essentialised past, they are subject to the continous ‘play’ of history, culture and power. Far from being grounded in a mere ‘recovery’  of the past, which is waiting to be found, and which, when found, will secure our sense of ourselves into eternity, identities are the names we give to the different ways we are positioned by, and position ourselves within, the narratives of the past.’

Geoffrey Batchen, Each Wild Idea, Writing, Photography, History, The MIT Press, Cambridge, Massachusetts, London, England: 2001, pp.79

Get in on the Secret…. March 2015

Royal College of Art Stewarts Law Secret Postcard Show March 2015

Secret Revealed

Secret Revealed (Postcard from personal collection)

The RCA Secret Exhibition is a firm favourite on the London Calendar. Potential buyers camp outside, sometimes a week in advance, in the hope of purchasing a work by a famous artist. All the works are available at the same price of £55 and each year the name of the artist is hidden from the public. Signed only on the reverse the identity of the artist is not revealed until after the sale closes. The sale of original postcard sized works including emerging artists at the RCA, technicians and staff, is held in the Dyson Gallery in Hester Road, Battersea.  This year RCA Secret also heads off to Dubai to double the effort to raise funds to assist those who are offered places to study at the RCA. Due to the considerable rise in fees many promising students and artists who receive an offer to study, an achievement in itself, are feeling the increased financial pressure and in some cases are simply unable to take up their offer of a place.

Funds from the show go toward supporting emerging and established artists studying at the RCA. In 2014 2,900 postcards were created and donated to RCA Secret. Can you put your money on a firm favourite by spotting works by Grayson Perry, Richard Long or Paula Rego (just some of the long list of established artists that supported RCA Secret in 2014), or is it perhaps time to take a gamble and invest in an artist of the future? RCA Secret is 21 this year and in acknowledgement prominent international curators have been invited to commission 3 artists to contribute postcards to the sale. Visit FAD for more information.

Things are happening a little differently this year as you can no longer view the postcards online prior to the exhibition, they are remaining a secret until the exhibition opens on Thursday 12 March, at 11am you will be able to view the postcards online and select your favourites. You need to register as a buyer and can purchase up to a maximum of four postcards. RCA secret is open until Friday 20 March 2015, 11am–6pm daily (late opening until 9pm on 19 March only), and admission is free to all visitors.  Saturday 21 March 2015 is sale day and from 8am–6pm the exhibition will be open only to buyers.

Visit RCA Secret 2015 for more information.