SpaceTime

Begin with Questions that Look for Answers

Now, We Are Going to Learn How to Read the Situation

How do I define and practice transdisciplinary art?
Perhaps the artist and the art object represent, not so much a higher and exalted form of art, but, rather, one that has effectively taken and molded those various other professional expressions into an exemplary standard, enriched by both artistic intention, and the distillation of seemingly unrelated disciplines.
 
Here is what we are going to explore
As designer I envision environments that change passivity into activity. This requires a medium (the site) where various ingredients are added (the art object), into that is added a catalyst (the individual). If this sounds vaguely scientific then you are getting the gist of where I am going. It is not enough to make the art and set into a place (we can refer to place in a generic sense and call it the gallery). I want to understand the factors that govern the site’s sets of complex reactions. In this sense, then, I look at this not so much as a "happening" or "installation" but as an Art Situation.

Breaking Down the Art Situation
How do we breakdown the Art Situation? That is, how do we begin to understand its dynamic forces, compositions and arrangements? What are the possible reasons for art to be designed this way? And, for that matter, what is an Art Situation? Before answering the following questions, let us understand the structure of the Art Situation. Examined through sets of specialized fields of inquiry can help explain its design, its forces of attraction, and finally its purpose. Explaining these things as response, behavior and observation we begin to define and understand these factors that govern its characteristics.

When talking about an Art Situation we are really talking about a particular kind of environment. There are many descriptions of what an environment is thought to be; globally the environment is the world we live in, affected by pollution or weather, we exist within it. 

 Geometric shapes are both understood, because of architectural design and environment, but also offer something not completely familiar. It is because of these characteristics that the individual might feel some level of comfort, and because of its abstracted nature can also feel impelled to investigate on a deeper level.

social conditions define environment, the work place, classroom or sports stadium; emotional forces, hostility, love, acceptance or politics describe another type of environment. These set a tone and define it on factors of physical, physiological and emotional levels. So environment embodies a range of conditional possibilities that effect our cognitive and physical states and senses.

The kind of environment expressed through an art situation has, first and foremost, very specific constituents of Art. Art seeks to communicate; to impart truth or meaning; to reveal; to engage. Thus the art found in the art situation can be thought of as art objects. Additionally, an art object establishes in the mind of the participant a sense of ‘being’ and relationship. Because they embody so many priorities to those emphasized in other fields, and because they embody the myriad qualities already mentioned. (More on this in later chapters.) First, it is their specialization of study and their principles that can be observed. For example, the art object is not only the invention of the artist, but is also bound by principles and laws discovered by architects, physicist and mathematicians. These are apprehended by the participant but not always on a primary awareness level. And this is precisely the point. One of art’s many goals is create a thing that is more than sum of it’s parts, beyond them, but, also using those laws that govern them.

 

Any condition of investigation can be described through the Japanese concept known as Ma. This idea describes Space and Time as so linked together that neither can exist without th other. Described in a series zonal orbits within the site the participant might explore by way of Susabi. This is a zone four arrangement I describe as Aperture Phenomenology. In this place perception is determined by one’s cognitive receptiveness and thus establishes the amount and kind of data received as it equally corresponds with behavioral discovery. The mind’s and body’s aperture make intuitive, ontological observations from what will, or has just occurred, and may alter, stimulate or prompt further action where the entire perceptual process will be repeated.

This aperture absorbs phenomena and directs both the amount and kind taken in.  An explanation of this perception is that phenomena can be understood as signs and signification, these indicate something observable or possibly tangible, present themselves, disappear, fade or change. Clarification, then, becomes discernible as things previously understood to be a “tip” (as sensed in Sabi) begin to express themselves in the context of the Art-Situation’s environment as Art-Structures. These arrangements, via motility and mobility, exist and dissolve through the Dual Bodily Unit’s process of exploration. This further defines complex groupings illuminating them as Art-Structure and shift the afore mentioned interpretations away from Structure and Art- Architecture; while still perceptible as artistic these retain their expected structural traits.