Prompt 1.
Hyperobjects as objects of
such massive scale and temporality that they exceed the perceptive capacities
of humans.
I think one hyperobject
that is very relevant in architecture and my own work is the idea of gravity.
Even though gravity can be explained through physics it still exists with some
distance of understanding in our brains. We never see the idea of gravity as a
physical manifestation, only as a performative action on objects.
When we design sculpture or
structures laws of gravity dictate them. I’m interested in how design changes
when it happens in the computer away from these rules.
Osaka-based artist Nobuhiro
Nakanishi’s ‘Layer Drawings‘ captures the idea of time as a sculpture. The
series consists of photographs printed on transparent film and assembled in
sequence that allows viewers to experience the ephemerality of time. The
interplay between positive and negative space creates a certain kind of notion
that reveals a thin boundary between a side and other side, and also expresses
illusion and reality. [Anna Dorothea Ker, Ignant]
‘Contact’, large-scale
installation by the Japanese art collective Mé
Prompt 2.
Object oriented ontology as
defined in the reading is a popular movement in contemporary philosophy
characterized by the rejection of anthropocentrism. Other sources express OOO
as being dedicated to exploring the reality, agency, and ‘private lives’ of
nonhuman and nonliving entities, so the idea of everything as object becomes a
critical thought. Timothy Morton writes “an artwork cannot be reduced to its
parts or its materials, nor can it be reduced to its creator’s life, nor to
some other context, however defined
… Art is charisma, pouring out of
anything whatsoever, whether we humans consider it to be alive or sentient or
not.” I think that OOO calls into question the relationship of artwork to
artist and audience. The inherent connection of an artist as a maker of the art
(object) seems contrary to the main drivers behind OOO. From what I understand,
OOO advocates for sculpture to exist as object stripped of its maker and human
viewer. Art that seems most representative of OOO is that which develop their
own independence, where the audience is secondary to the piece’s relationship
to itself and its surrounding context.
Artist Linda Tegg’s work
‘Adjacent Field’ is a living installation of plants set inside the Milan
headquarters of the fashion house. While the installation is quite literally
nature as object, I think it further promotes OOO ideas by being a sculpture
with its own agenda unrelated to its audience. Unrelated to its maker and each
viewer the plants will continue to grow and change solely according to its
current environment.
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