We cannot make the future, however, without also thinking it. What then is the relation between thinking and making?
To this, the theorist and the craftsman would give different answers. It is not that the former only thinks and the latter only makes, but that the one makes through thinking and the other thinks through making. The theorist does his thinking in his head, and only then applies the forms of thought to the substance of the material world. The way of the craftsman, by contrast, is to allow knowledge to grow from the crucible of our practical and observational engagements with the beings and things around us.
This is to practise what I would like to call an art of inquiry. (Ingold, 2013, p.6)
intermedia—the latter a term he adopted and reinvented in the mid-sixties to describe the myriad new practices that probed the gaps between established mediums and disciplines.
…seems poised to change that, but I imagine it is because Higgins, like many Fluxus artists, was not immersed fully in any one specific discipline and thus has seemed a marginal figure to all. Even within Fluxus, he was not much of an object-maker; his network was broad but nowhere near mainstream; he committed himself to an independent, perhaps even self-marginalizing path
Research, practice, pedagogy, experiment, art education, method
This workbook contains keys to unlocking your thinking/understanding. It inquires into the threads of the practice of research, connecting to the fibres of intuition. It seeks out resonance which merge_with these often intuitive actions and practices
It asks:
What do I do?
Why do I do what I do?
Practice experiments and theoretical notions strengthen your position