Julia ITP

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A meeting is always some time. And it is always some place. And it is always some thing. But you can't lift up a meeting. You can't burn a meeting. Obviously a meeting is nothing. But it is something.

Denis Wood. IDWTBIW

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Write a research essay about kinetic sculpture as a multidimensional and multisensory tool for mapping existentialism [written by chatGPT]

Kinetic sculpture is a form of art that uses movement as a medium for expression. It often incorporates a variety of materials and techniques, such as metalwork, woodworking, and electronics, to create intricate and dynamic works of art. As a multidimensional and multisensory tool, kinetic sculpture can be used to explore and map out the complex and multifaceted concept of existentialism.

Existentialism is a philosophical movement that emphasizes individual freedom and choice, and the inherent meaninglessness of life. It posits that individuals must create their own meaning and purpose in life, as there is no inherent meaning or purpose given to us by a higher power or external force. Kinetic sculpture can be used to illustrate and explore this idea through the use of movement and other sensory elements, such as sound and light.

One way that kinetic sculpture can be used to map out existentialism is through the use of metaphor and symbolism. For example, a kinetic sculpture that incorporates elements of balance and instability can be used to represent the tension between the freedom of choice and the inherent anxiety and dread that comes with it. Similarly, a sculpture that uses movement to suggest the passage of time and the fleeting nature of existence can be used to explore the concept of the human condition and the search for meaning in a seemingly meaningless world.

In addition to metaphor and symbolism, kinetic sculpture can also be used to explore existentialism through the use of interactivity and participation. By incorporating elements of interactivity into their works, artists can create a sense of agency and empowerment for the viewer, encouraging them to actively engage with the piece and consider their own choices and actions in the context of existentialism.

Overall, kinetic sculpture can be a powerful and effective tool for mapping and exploring the complex and multifaceted concept of existentialism. Through the use of movement, sensory elements, metaphor, symbolism, and interactivity, artists can create dynamic and thought-provoking works that encourage viewers to consider their own place in the world and the choices they make.

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If a building can not only draw people to its interior but also activate the space around it, then we have the possibility of a more complex reality—urbanity, a reality that is made through practices and interactions, where buildings and other artifacts become actors in a larger story. Small actions, small objects, particularly when seemingly out of place, could have an effect in even the most powerful events or processes.

Saskia Sassen. Sarah Sze. Assemblages of Presence

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In Sze’s sculptures I see assemblages of presence. Perishes is a complex condition that goes beyond the material, the visible. It is also ephemeral even when deeply material, because material by itself, and the visibility of material, are not enough to make presence. Presence is not a mere function or an attribute of materiality. It is made. What I see in these sculptures is a making of siding meanings arising out of elementary artifacts and their repetition.

Saskia Sassen. Sarah Sze. Assemblages of Presence

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For me the entire experience of viewing a work is always based on a kind of circulation or choreography through the space. This is something that I think comes from an architectural way of seeing. There’s a consideration of how the viewer will see it at every point.

Sarah Sze

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I was just really thinking about what makes something monumental, what lasts, what an artwork is. How does a monument create meaning for people in their time and then throughout time? The idea that objects, like experiences, are ultimately fleeting, ephemeral, and located in a very specific moment—the idea of the anti-monumental—became interesting to me. I thought about something that couldn’t be owned, that couldn’t be moved- at least in your sense of it and your experience of it- and yet when you would come to the work you would really think about time and the presence of time. How did it get there, how long would it be there, and how would it last?

Sarah Sze

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It’s not about having a vision of it before. Again, the best stuff is stuff that you didn’t envision, like writing when you read back a piece of writing and it feels entirely new to you. I think completion is more about balancing orientation and disorientation, or shifts from the profound to the mundane. I feel the work is done when all of the formal qualities and the readings of content are at that point of balance. It’s a shifting of all the holiness so that they balance—a careful calibration where they are just teetering in relation to one another.

Sarah Sze.

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A fractal sensibility helps us orient ourselves to the modern, mediated, and nonlinear landscape. As humans we strive to find patterns in the world around us—especially in the seeming chaos. Just as the regularity of waves turns a threatening ocean into a reassuring rhythm, our ability to perceive parents and self-similarity in the manufactured world of cities and objects helps us understand that there is an order to our existence. A plan. A design.

- Douglas Rushkoff. Sarah Sze. Playing with Fractals

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Part automaton, part god, Sze is both a space to her taskmaster vision and the human hand intervening in its mechanized execution. She is the delightfully autonomous being who dares to create worlds , and the autistic match-gluer who churns out the sorts of iterations most suited to a Pentium chip.

- Douglas Rushkoff. Sarah Sze. Playing with Fractals

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Space is multiple, time is inserted into it and the hitherto relatively stable works begins to move: only the ubiquitous and simultaneist vision associated by certain artists… could meet the needs of a representation of a reality in regard to which bodies and consciousness had to totally reconfigure their relations—or else risk passing through reality the way that absent-minded visitor did at the Salon: without seeing it.

- Arnauld Pierre. Calder Picabia Transparence

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We chart our cities, so we chart ourselves. To chart the external world is to reveal ourselves - our priorities, our interests, our desires, our fears, our biases. We believe we're mapping our knowledge, but in fact we're mapping what we want - and what we want others - to believe. In this way, every map is a reflection of the individual or group that creates it. By "reading" a map, by studying it, we share, however temporarily, those beliefs. This explains why we can enjoy, collect, and hang on our walls maps of places we've never been and never expect to go - even places that don't exist. Because the map takes us there.

Peter Turchi. Maps of the Imagination.

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We mean to evoke a large and complicated world, one with potentially overwhelming detail and sensation... Michael Ryan reminds us that an original function of language "was to exclude from attention what was unimportant to the task at hand, thereby providing an ordering of the experience of the world.

Peter Turchi. Michael Ryan. Maps of the Imagination

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The practice of orienting maps to the north is a convention; orientation is entirely arbitrary. There is no "up" or "down" in space; the term "orientation comes from the practice of locating the East, which for Europeans was the direction of the Orient, at the top of maps.

Peter Turchi. Maps of the Imagination. 

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