Break - Composing Time in Sculpture

在雕塑实践中，一个中断，或者说缺席，是如何成为一种构图方法的？我的实践主导的研究项目问雕塑如何可能插入休息到空间环境和时间。通过写作，雕塑和装置，我探索和表达这种适度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，劳动条件对时间的影响的社会学研究，以及艺术史和理论。我的项目名为“休息-雕塑中的时间构成”，并以休息的范式形式为起点。这种中断既可以理解为工作中断的字面意义，也可以理解为与时间性和空间哲学有关的隐喻意义。由于这是一个以实践为导向的项目，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。雕塑实践如何将节奏、重复和注意力作为生产和展示的关键方法进行实验？物质过程如何带来一种慷慨的、有质感的或有抵抗力的时间体验？关注时间开启了对雕塑重要意义的新见解。例如，雕塑如何履行公共职能，在什么时候或谁的时间？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？我的研究产生了制作雕塑的模式，提供了不同的时间主张。2.关于劳动、休闲和时间体验不断变化的条件，围绕历史和当前休息文化的不同规则和习俗能提供什么样的见解？书面论文将建立在个案研究和理论和历史研究，解决打破范式，同时正式反映雕塑技术。虽然我们可以找到更多的解决标记的性质和政治条件的历史例子的休息，我们当代的理解休息或自由时间是在流动。我的研究促进了概念，价值观和当前时刻的时间使用。一个突破性的物质研究实践--突破中断、持续时间和预期--如何批判性地改变空间、空虚或空虚的概念？我的项目是通过哲学研究，满足缺席，或虚无，重新。我将特别关注缺席的概念是如何在意识形态上受到指控的，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。我的项目从历史、社会学和哲学的时间理论及其与权力的关系开始，通过艺术实践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，通过成型，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重复和转变的物质过程，同时考察了中断、停顿或停顿的历史和理论范式。在当前劳动力日益专业化和注意力竞争的背景下，休息似乎是优化生产力的又一个时刻。是否可以通过使用、推迟或放弃来恢复休假时间？这个项目追溯了雕塑实践如何与强加的节奏和多重时间性结合，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.