Break - Composing Time in Sculpture

在雕塑实践中，中断或缺席如何成为一种构图方法？我以实践为主导的研究项目是关于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逊但不守规矩的时间性的潜力。我的跨学科研究领域包括时间哲学，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“break - composition Time in Sculpture”，以“break”的范例形式为出发点。“休息”既可以从字面意义上理解，比如工作休息，也可以从与时间和空间哲学相关的隐喻意义上理解。由于这是一个以实践为主导的项目，所引用的文献是跨学科的，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影响：1。一个雕塑实践如何将节奏、重复和注意力作为生产和呈现的关键方法？材料过程如何带来一种宽厚的、有质感的或有抵抗性的时间体验？关注时间开启了对雕塑重要意义的新见解。例如，雕塑如何实现公共功能，在什么时代，在谁的时代？雕塑的公共表现形式，如纪念碑，是如何倡导一个特定的时间——延长的、不变的或纪念的？我的研究产生了提供不同时间命题的雕塑制作模式。2. 在过去和现在的休息文化中，不同的规则和习俗对劳动、休闲和时间体验的变化提供了什么见解？书面论文将建立在案例研究、理论和历史研究的基础上，以解决断裂的范例，同时正式反映雕塑技术。虽然我们可以找到更多关于断裂历史例子的特征和政治条件的明确标记，但我们当代对断裂或空闲时间的理解是不断变化的。我的研究促进了当前时间的观念、价值和利用。突破中断、持续和预期的材料研究实践如何批判性地改变空间、虚空或空虚的概念？我的项目是通过哲学研究来重新认识缺席或虚无的。我将特别关注缺席的概念是如何在意识形态上被指控的，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。从时间及其与权力关系的历史、社会学和哲学理论开始，我的项目通过以艺术实践为主导的材料研究以及理论写作部分展开。我开发了一种方法，通过模塑，铸造和空间安装的迭代过程来追踪和记录我的材料雕塑生产的艺术过程。书面部分在考察中断、停顿或停顿的历史和理论范例的同时，正式地阐明了重复和转换的物质过程。在当前劳动力日益临时工化和注意力竞争加剧的背景下，这一间歇似乎是优化生产率的又一个时刻。休息的时间可以通过使用、延期或放弃来恢复吗？该项目追溯了雕塑实践如何与强加的节奏和多重时间性相结合，为不同的形成过程创造空间。

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.