TRANSFORMATION DIAGRAMS:
Specialized Area of Research
Transformation diagrams are keys describing the various conditions present within an art situation. Any art situation contains myriad art objects igniting personal experiences. The art situation is, simply an art installation. But the
installation is comprised of many potentials effecting perception and behavior. In essence this spatial construct is made up of zones and within in any particular zone the Dual Bodily Unit (DBU) made up of the I and Me react.
I and Me Enter an Art Situation:
Factors of Response
The artist utilizes tools and tactics to bring the viewer into a situation designed to confound. These are meant to tap into one’s insidedness. But there another concept of ‘insidedness’; the idea of entering the art situation itself. It carries a similarity to being ‘inside’ oneself and ‘inside’ the art, at the same time. It is yet another realm of presentness and this occurs through experience. Krisi Peltomäki asks in Situation Aesthetics, ‘The Work of Michael Asher’, “What does it mean to ‘enter’ the work, rather than ‘view’ or ‘see’ it? Entering the work implies crossing a threshold between two environments; it might even promise a passage to an altered state. In other words, ‘entering’ signifies an experience.” Think back to action and behavior, this is operational and vibrant. This altered state of perception, including the art situation, is the ‘inside’ of art - as a conceptual tactic.
Descriptions
Zone 1 Hashi
SpaceTime: Ma:being Hashi- Panarama
Remember, the installation, “permits meditative wondering”. These made apparent by the position, location and orientation, via movement, of the body and its parts. As this is a panoramic field, Zone 1 describes Aggregate Proprioception as the first and large scope vista of the Art Situation; a macro scene opening up before the participant. In the SpaceTime Ma:being construct of Hashi, the removed or distant placement of the body and the visual panoramic view, becomes the bridging of space between existing site’s structures and art objects as well as the object that is one’s Dual Bodily Unit (DBU). The Art Situation is now beginning to be established, and, is in dialogue with its site (as it is In-Situ) and participant.
Engagement
The process of engagement requires simple participation, and the dual bodily unit awakens naturally. Human nature is designed to explore, engage, process and sense. Two natures, the physical and cognitive, a corporeal bodily unit and a subjective emotional unit, dynamically interact within the art situation. This is when the change from viewer to participant occurs as their innate dual nature’s collaborate with the design aesthetics of the installation.
The dual bodily unit is composed of the I and the Me, two separate yet inseparably linked constituent characteristics forming human nature. I does not require the corporeal spatial unit and as such is directly linked to the continuous present. Me, associated with recollection, parallels object perception. While any part of the art situation might be recalled from memory, the Me of past experience .
Types and Kinds of Forms
Zone 1 Hashi
SpaceTime: Ma Hashi- panorama
Types and Kinds of Aggregate Proprioception:
Zone #1 View, Aggregate Proprioception V, Ap
RAC, (Requisite Arrangement and Classification) I, S (Installation, Site)
PIP, (Principles Influencing Perception)
Re (Remarkable Environment)- Art Situational, it is distinguished from other sites by artistic design and intention to excite the DBU..
O, (Object)- Gestalt view. The bracket organizes, as a group, RAC, PIP and O.
CA (Art Object)- Contours, Abutment of all architectural units as an organizational schema.
E, S, Is- “Form”- Rather than having a single distinct ‘form’ Hashi has Exteriors, Silhouettes, In-Situ as distinguishing features. This is a unique viewing feature to Hashi.
The semiotic construct in my research is in development.
The Semiotic Construct
Signs, Firstness, Secondness, Thirdness
The Phenomenological Construct
Most identify a place by name; the gallery. Since many people are somewhat familiar with the gallery they know it houses art. Some art is understandable, as in nature or scene, and as this kind of art is recognized, it generally elicits responses that are comfortable. That is to say this kind of art does not challenge the viewer. I am making no value statement here, but simply describing a typical view to the gallery and about art that is does not challenge traditional conceptions of art. Perhaps that this art can be further described as painting or photography, two medium that play similar roles. The gallery is also thought to be a place with art not easily understood, that is challenging, and art of this character can off putting. The gallery also attracts people of a particular nature, and these people can be different. So briefly we have described the gallery, it’s contents and patrons. The art situation I am describing may reside in a gallery, and it may not. So location aside I am still referring to art that can be . . .
Definitions
Zone 1 Hashi
SpaceTime: Ma Hashi- panorama
An edge or limit from one environment to the next. Ma - describes the conditions of the space between, the space directing movement or the space for relationship and existence. Zone # 1, key and explanation Aggregate Proprioception A wide angle view, this term is applied to one’s initial visual, including cognitive, and physical acquisition of the Art Situation. This aspect uses panoramic views as a mode of acquiring an overall grasp of the site, as in an approach to mapping, where the site may be defined as a series of Art Objects or Structures within a micro-geographical context. Any series of heterogeneous things or elements then comprise the whole within the site and are ultimately understood as a complete entity despite their constituent parts.