You can put a link to your video in the comments here–

13F synthesis assignment

You can ask me questions about the assignments or our shared itinerary below–

From Mojdeh, re: Robert Morris:

1- Artists often find the desires of financial sponsors to be
conflicting with their ethical system and values.
How can artist deal with this ristricting factor? How can they turn
this restrictions to an opportunity?

2- What do you define site specific peace of art (in another words what
are the characters of such an art knowing that every site is unique)?
In your definition, how do you see the work of Robert Morris?

3- Why buildings are not a site specific peaces of art and craft?

From Alyssa P:

Re: Paglen reading

1. As architects, we often create spaces, rooms or “containers for human activity.” How are ways that human activity can be the driving force for new forms or spaces?

2. “… Experimentation means production without guarantees, and producing new forms of space certainly comes without guarantees.”

Experimenting in architecture can come with great costs, consequences, and potential environmental impact. Would exploration and experimentation in using space through architecture be building a physical space or would it require something of a different nature? And if so, what would this new “space” be?

Harvey:

1. David Harvey gets Marxist on us and breaks our world down to the production and consumption of goods, and its effects. Buildings are definitely a part of this world, but occasionally of an aesthetic world also. Can the production of architecture ‘lift the veil of fetishism of commodities’, and help to reveal the entire process of the built environment? or How can the global and local moralities be unified?

2. What does ‘remote’ mean to you? A landscape or a mental state? Is it going beyond your self to a social world, the ‘exterior’? or Is it an ‘interior’ and solo endeavor, just you and nature? Somewhere inbetween? Is there anything ‘mediating’ that experience?

Bishop et al:

Remote Possibilities: Land Art’s Changing Terrain

1. This question has been building since the beginning of the term. The use of materials and energy in some of the land art projects we has reviewed seem exsessive in terms of the studio we are in and the goals behind it, for example James Turrell’s installations. Is there any flexibility for the artistic expression in a project such as ours that might require using more materials or energy?

1. The reading discusses the new role of land art as being more of a social and collaborative movement and less about the aesthetics. What relationship does this conversation have with architecture today?

1. What is it about the remote site or landscape ( I am scared to use these words now) that intrigue not only artist, but architects as well? Is the remote coded as an aesthetic like the discussion in the reading?

There are two more essays to read: Vibrant Matter and Scapeland.

Re: Scapeland, Amanda asks you to consider:

1-      “In order to have a feel for a landscape you must have to lose our feeling of place.” How does your feeling of place hinder your perception of the landscape?

2-      Lyotard writes of solitude and the lowering defenses of the mind, so that only “self is left”. What examples from your life reflect this state?

Thanks to Amy for some questions for you to respond to in advance of our meeting on Thursday. Please be SURE to relate your answers to particular aspects of the Boettger reading to show that you are familiar with the author’s position(s).

Use this site to post reading questions (as new post(s)) and reading responses (as comments on that post). It is okay to just use your initials to identify yourself.