Break - Composing Time in Sculpture

休息--一种中断或缺席--如何成为雕塑实践中的一种构图方法？我的实践指导的研究项目问的是雕塑如何在空间环境和时间中插入休息。通过写作、雕塑和装置，我探索并阐明了这种谦虚但不受约束的时间性的潜力。我的跨学科研究领域包括时间哲学，关于劳动条件对时间影响的社会学研究，以及艺术史和理论。我的项目名为《雕塑中的休息--创作时间》，以休息的范例形式为起点。休息既可以从字面上的意义上理解，就像在工作休息中一样，也可以从与时间和空间的哲学相关的隐喻意义上理解。由于这是一个以实践为导向的项目，参考的文献是跨学科的，在不同的知识领域之间建立了重要的联系。三个研究问题构成了我的项目及其潜在的影响：1.如何将节奏、重复和注意力作为制作和呈现的关键方法进行雕塑实践实验？材料加工如何带来一种慷慨、有质感或抗拒的时间体验？对时间的关注开启了对雕塑的关键意义的新见解。例如，雕塑如何履行公共功能，在什么时间或谁的时间？雕塑的公共表现形式，如纪念碑，如何倡导特定的时间--延长、不变或纪念？我的研究产生了雕塑的制作模式，提供了不同的时间命题。2.围绕历史和当前休息文化的不同规则和习俗可以提供关于劳动、休闲和时间体验的变化条件的哪些见解？这篇书面论文将建立在案例研究以及理论和历史研究的基础上，这些研究解决了断裂的范式，同时正式反映了雕塑技术。虽然我们可以找到更多关于休息的历史例子的特征和政治条件的标志，但我们当代对休息或自由时间的理解正在变化。我的研究在当下推进了时间的概念、价值和使用。突破性的物质研究实践--中断、持续时间和期待--如何关键地改变空间、空虚或空虚的概念？我的项目受到哲学研究的启发，这些研究重新遇到了缺席或虚无。我将特别关注缺席的概念如何在意识形态上受到影响，以及它们对殖民主义和扩张历史的影响。我的研究展示了雕塑作品如何改变这些理解，并对我们如何看待、对待和塑造缺席和空间的概念做出贡献。从历史、社会学和哲学关于时间及其与权力的关系的理论开始，我的项目通过艺术实践指导的材料研究和理论书面部分展开。我开发了一种方法，通过造型、铸造和空间安装的迭代过程来跟踪和记录我的材料雕塑生产的艺术过程。书面部分正式阐明了这种重复和转换的物质过程，同时考察了中断、停顿或停顿的历史和理论范式。在当前劳动力日益随意化和争夺注意力的背景下，休息似乎是优化生产率的又一个时刻。休息时间可以通过使用、延期或放弃来恢复吗？这个项目追溯了雕塑实践如何与强加的节奏和多重时间相结合，为不同的形成过程腾出空间。

How might a break-an interruption, or absence-become a compositional method within sculptural practice? My practice-led research project asks how sculpture might insert breaks into spatial environments and time. Through writing, sculptures, and installations, I explore and articulate the potential of this modest but unruly temporality. My interdisciplinary area of research includes the philosophy of time, sociological studies of the impact of labor conditions on time, and art history and theory. My project is titled Break-Composing Time in Sculpture and takes the paradigmatic form of the break as its starting point. The break is understood both in its literal meaning, as in a work break, as well as in its metaphorical meanings in relation to the philosophy of temporality and space. As this is a practice-led project, the literature referenced is interdisciplinary drawing significant connections across different fields of knowledge. Three research questions structure my project and its potential impacts: 1. How can a sculptural practice experiment with rhythm, repetition, and attention as critical methods for production and presentation? How can material processes bring about a generous, textured, or resistant experience of time? Focusing on time opens new insights about the critical significance of sculpture. For instance, how does sculpture fulfill a public function and in what or whose time? How do public manifestations of sculpture, such as monuments, advocate for a particular time-extended, unchanged, or memorialized? My research generates modes of making sculpture that offer different propositions of time. 2. What insights can different rules and customs around historic and current cultures of breaks offer about the changing conditions of labor, leisure, and experiences of time? The written thesis will build on case studies and theoretical and historical research that address the paradigm of the break, while formally reflecting sculptural techniques. Whereas we can find more resolved markers about the character and political conditions of historic examples of the break our contemporary understanding of the break or free time is in flux. My research advances conceptions, values, and uses of time in the current moment.3. How might a material research practice of breaks-through interruption, duration, and anticipation- critically alter conceptions of space, void, or emptiness? My project is informed by philosophical investigations that meet absence, or nothingness, anew. I will pay particular attention to how conceptions of absence can be ideologically charged and their influence on histories of colonialism and expansion. My research demonstrates how sculptural production can alter these understandings and make contributions to how we view, treat, and shape notions of absence and space.Beginning with historical, sociological, and philosophical theories of time and its relation to power, my project unfolds through artistic practice-led material research as well as a theoretical written component. I develop a methodology that traces and records my artistic process of material sculptural production through an iterative process of molding, casting, and spatial installation. The written component formally articulates this material process of repetition and transformation while examining the historic and theoretical paradigms of the break, pause, or caesura. In the current context of the increasing casualisation of labour and competition for attention, the break appears as yet another moment for optimised productivity. Can the time of a break be recuperated through use, deferral, or relinquishment? This project traces how a sculptural practice can engage with imposed rhythms and multiple temporalities to make space for different processes of becoming.