Acronyms & Groupings — Gregor Roth

Zone 1 Hashi
SpaceTime: Ma Hashi- panorama

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.

Zone 2 Suki
SpaceTime: Ma Suki- dwelling

While separate and distinct entities, there may occur a visual mingling where one seems to combine with another, the product of a visual field, or sight line; where the eye passes over one art object and then another and combine many into one. In the SpaceTime Ma:being construct, Suki uses the Dual Bodily Unit (DBU) to welcome the individual into the Art Situation.

Zone 3 Sabi
SpaceTime: Ma Sabi- emotional

In this condition a change of art object’s order or arrangement occurs as one’s setting is re-tuned as placement is altered to another duration of being. Ephemeral through location, new acquisitions come via the responsive interpretations to the environment’s forms as art objects. Occurring through intentional design tactics that contrast with site’s original design aesthetics one begins to sense the temporal nature of the installation. The Dual Bodily Unit (DBU) through a cognitive and physical approach discerns continuous change. In the Space Time Ma:being of Sabi one begins see “tips of things”, moving and ever changing as one’s locomotion changes as well as by way of progressing through the proceeding zones.

No. 4 Susabi
SpaceTime: Ma Susabi- perception

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.

No. 5 Utusushimi
SpaceTime: Ma Utusushimi- relational

Observations made earlier may be supported, investigated more thoroughly, or altered and further re-evaluated. One continues to absorb phenomena that attest to the reality of the experience. This is a condition of being alive, of living among and within art, as revealed by the sculptural quality of the art object; in every case art strives for unity with the viewer. In this context, the Art-Object and participant have paired in a temporal existence — the same SpaceTime. The suffix –mi alludes to the body, and as the art object has form and mass, is then projected into the same SpaceTime reality. One’s Dual Bodily Unit Me, nature of the self, act as an outside sensing mode, a type of object unit, projected outward from the I nature, and into the realm of art.

Zone 6 Michiyuki
SpaceTime: Ma Michiyuki- experiential

Proportions are not physical, but are assertive forces that compose emotive awareness and that this supersedes the expanse of the site. While at the center (center simply means being in the nucleus of the art situation and not necessarily the geographical middle of the installation) one has attained, via movement through space, environment, and around any particular art object, an encountering of a series of way points. These attune the senses to reveal shapes, line, form, vistas, groupings or arrangements. In this state, peculiar to the art situation, it is natural that deeper inquiries are made into the unknown. And these characteristics are presented as ever new manifestations of form, line, vistas, groupings and arrangements. This is a culmination of experiential investigation, the Dual Bodily Unit has reached out with its two forms and into any given zonal location The result is a time flow where one has shared SpaceTime within the art situation, and with each art object; both a culmination as well as a series of on going experiences.

An excerpt from my manuscript, “ Connection Points, Bridging the Expanse Between Self and Art Objects in SpaceTime”. (Working title.)