The 1st project that Echelman talks about is an example of looking for idiosyncrasies or catharsis in the site to achieve something site-specific within humble means, or the humble means are what give insight to the site. The collaboration with the artists (the fishermen) in that particular site created a cathartic experience for the area.
Infrastructure and post-humanities: maybe it is Pragmatic to recognize the agency of the water (nature).
The previous block is a great reference for WBR, and it suggests mitigating factors that need to be at the core of the work. Policy advocacy, and the need to make value judgements regarding the adjacency of public space articulation to new development is important.
Rhizome examples: lateral spreading plants like bamboo, growth perpendicular to gravity, mycelium, wasp and orchid, oral history, the underground railroad, social media, maps, highway systems
"The Sight Station & Kaw Point Park" Finials on the Woodweather Bridge are an unique use of the art-goes-here formula -- it is an example of an "active work". In interacting with it, you are given an instance of reprieve within an overwhelming scale of surroundings. On the other side of the scopes are surprising moments of discovery as part of a history of accounts and mapping found through an extension of the structure itself, which otherwise would have been indifferent towards human interaction.
Hirschhorn's says the site isn't an interactive piece (see previous block), but "an active work whose activity never ceases...(the activity of thinking)". While he is working with creating public space inside institutional contexts, it's still experimentation with the idea of public space and possession -- like in relation to what Carmen calls the "coffee shop ideal".
Both of Chin's works (see adjacent blocks) are ideas for remediation of trauma -- one using memory and the other physical re-growth.
Terrapattern uses satellite imagery to build analogous connections between disparate sites using shapes or pattern from google maps.
The two blocks from the Review publication are tools for starting a discussion about archaeological layers and general reference for views of urban space and structure. As we continue to discuss ideas about a "platform" design process, we are looking at results seen as emergent properties of this process. These two articles/essays are part of a broader discussion between Jim Woodfill and David Dowell regarding the idea of "incremental urbanism." This stems from real-world opportunities to define and express broader planning goals through periodic, long term and incremental opportunities to build small projects.
A reminder of the focus from the grant application for this project: "Activity 2: The design process will explore, capture and represent individual characteristics of each site, using more detailed 2D and 3D visualization for a comprehensive design response. The design response will investigate how art, by its own means, can seize the space’s essence and impart it with a sense of collective significance and identity. The design team, artists, and stakeholders will explore various conceptual and programmatic scenarios for the deployment of arts for each individual site across all media. This will determine the critical support infrastructures which will need to be designed to sustain such space developments. The design process will include community design charrettes, public presentation of 3D digital space simulations, and space installation mock ups." It is now imperative that the artists start to define the nature of these sites as platforms for their works.
"The project's main goal is to leverage a critical understanding of different visualization methods, across a series of disciplines, as diverse as Biology, Social Networks or the World Wide Web." - visual complexity
This article points out implications of modularity: "Le Corbusier’s Modulor is an updated version of this masculinist and ableist universalism. The Modulor Man is a healthy white male enhanced by mathematical proportional gimmicks ‘of nature’, such as golden ratio and Fibonacci series. He represents the normative and normalised body around which Le Corbusier conceived his designs. "
- a palpable connection to the West Bottoms' unique abstraction of vacancy, which we know is not real. How does this perception serve as a mask or some kind of cultural assumption? How could acknowledging this present new possibilities for de-mystifying displacement and perceived vacancy in other areas of the city.
"Ruin production and mainstream-isation has been integral to the preservation of state control over the narrative of the war in Syria. The ruined urban landscapes beneath RT drones have been portrayed as abstract fields of concrete and debris, devoid of human suffering to an extent that no moral reference points of analysis and narration is possible from the perspective of those that are experiencing the ruins and horror of the war with their very own bodies." "To deconstruct and disrupt such aesthetic regimes, photographers, architects, visual artists and urban researchers are equipped with powerful methodologies of resistance. They can de-abstractify and contextualise the ruins in time and space. By tracing, narrating and exposing power relations by means of spatial analysis, contextualisation and counter representation, they have the tools to look closer at the ruins in order to establish the much needed critical, specific and less abstract gaze. Such aesthetic interventions in the space of war can not only help to redefine the ruins as material manifestations of militarised state violence, but also to reveal the state’s political strategies. This challenges the widespread perception of the ruins as ‘natural’ consequences of ‘incomprehensible’ and ‘mystic’ political conflicts in ‘far away lands’."
Moments of Incremental Urbanism - Leveraging the content of the green infrastructure project for artistic output. The act of collective thinking, reflecting, or questioning as defining or creating a public space. Acknowledging the agency of the site. In understanding the post-natural, we’ve put reference to the Anthropocene, a necessary frame of reference for best practices of urban planning and design. Brief discussion of Chin’s work using memory and physical regrowth in service to remediation of trauma. Incremental Urbanism - Leveraging Surveillance for artistic output. Urban exploration and surveillance. Scalable analogies between local and global. Opensource and public space. Poetics of re-purposed materiality. (these bullet points are a map for the research done based on the Site Crits 7/13/17).
In discussing Alexander Bagdanov and "tektology" Wark writes the following: "Rather than unconsciously using metaphors borrowed from authoritarian or exchange relations, the wager of tektology is that it might be possible to construct a kind of low theory whose purpose is to experimentally apply understandings of one process to other quite different processes to see if they can be grasped as analogous. It is a kind of detournement that works "sideways," from field to field, rather than from past to present." Philosophy is a tool to be used, not an end in itself. This lateralization applies to an idea prevalent in my practice for some time - that there is no real end state or resolution, only periodic states of rest. When the frame is around the labor involved, or the USE of the artifact, instead of the object directly, then a sort of "mis-use" is inevitable in reference to original intent. Wark's notion of "tektology" played out in a physical/sculptural langauge. This USE plays out as a system of organization, and Wark points out that this lateralization is a form of substitution, where the organization around one context can be useful for another. "Substitution is a kind of detournement, by which the formal properties of any given activity can become the experiemental template for any other."
The Stillness in Motion and Time Foam projects by Tomas Saraceno (see adjacent blocks) are examples of a conversation of curvature, or "a translation of curvature" in relation to vectors in Miranda's works.
HOW DO WE DEFINE OR ACKNOWLEDGE THE AGENCY OF THE WEST BOTTOMS? HOW DO WE SEE THE LAYERS THAT ACT ON US?
I'm reading a book titled "after nature" and this all also points to latour's compositionist manifesto. The mindset requires a bit of a voyeuristic position when operating in public space. It also suggests that we are participating in a larger system, and authorship (or composition) is in collaboration with site. And site is defined beyond just human involvement. They are talking about acknowledging the agency that the mountains have in the process of "giving our bodies back." This is precisely the idea of kinetics that involves the shifting relationship between ME as an observer and the agency of the urban environment's ability to continually re-define my status. This agency assignment requires an abstracted view of a larger consciousness or system of being - a larger composition than myself. By acknowledging that I am operating INSIDE OF a larger system, I am in fact operating outside of that system (I have to be in order to see it - see Godel's theorem).
12-1-16 As we were talking today about infrastructure and the upgrades to the sewer systems that would take place, I thought of the Color jam Stockholder piece that you posted, and I added a Peter Halley painting. I am thinking of mapping systems in the West Bottoms that could indicate structural connectivity.
Could you put together about a page worth of narrative about some of the smaller scale projects and how you see them interacting with the community and environment? How does scale give or limit accessibility to the work?
Sandback's work is a formal example of a minimal intervention into space -- see description. Walter De Maria's piece is a good formal example of using the measurement of space as an aesthetic experience. B.wurtz's piece is an example of simple and elegant monumentalized detritus.