PRESENTING THE SCULPTURAL PLAYGROUND PROJECT

Drawing by-O'Brien Roy, 2005.
These two drawings where done by children from Tacarigua's 
4 schools to represent their ideal play-space.
(There is an interesting story there also) 

WHEN THERE ARE DREAMS WHERE DO WE GO TO BUILD THEM.

Drawing by-Simon Saukar-2005.

THE INTENTION OF THE PROPOSED PLAY-SPACE IS TO ACTIVATE A DIALOG BETWEEN ARTISTS,DESIGNERS, ARCHITECTS, URBAN PLANNERS, STATE AND MANUFACTURING SECTOR.
COMMUNITY.

ABOUT THESE POSSIBILITIES AND NON POSSIBILITIES OF THE ART-DESIGN OBJECT.

WE HAVE SAT DOWN IN RESPECTIVE SPOTS AND DELIBERATED OUR PROBLEMS TO DEATH.

Animation by Terry Smith (C)
conceptual detail of the proposed play-space.

WHAT WE NEED IS A PHYSICAL DIALOG OF CONSTRUCTION AND BUILDING OF SPACES IN ART-DESIGN POLITICS.

THERE WAS NAPA AND ALL THE REST
300,000,000MILLION
TO ORANGE UP.
AGAIN
NO ARTISTS.
NO DESIGNERS.
NO AESTHETICS IN THE ORANGE.

AS WE HAVE NO ART POLITICS.
WE JUST HAVE ARTY THINGS 


IT IS NOT THE FAULT OF THE
POLITICIAN
OR
THE MANUFACTURER
OR
THE TECHNOCRAT
OR
THE BUREAUCRAT



conceptual drawings for
THE NEW SPACE

IT FALLS SQUARELY AT OUR FOOTSTEPS
THAT WE ARE ALMOST IRRELEVANT OR INVISIBLE TO THE
SYSTEM
WHEN IT COMES TO INVESTING IN OUR COMMUNITIES.

furniture art-design object.
Dean Arlen's,
A whole Can Get Filled Up To.
Material- Wood,Metal.
2010.
(C)

 
Marlon Darbeau's
Peera
(c)


Richard Mark Rawlins
www.zazzle.com




Akilah Jaramogi
www.facrp.org
(C)

THIS DRAFT

Tells the stroy of developing the physical model.

possibilties of being seen,

RIGHTLY!

through

work- art-design-craft-

through science-thought-economics.

THE THEORETICAL IMPLICATION OF PLAY STRUCTURALISM.

A PERFORMANCE IN SYSTEM RE-INTERPRETATION.

THE POLITICS OF ART IN THE SCULPTURAL PLAYGROUND PROJECT.
Rio de Janeiro, Copacabana, Brazil, 28^th September 28, 2011.

 Building conceptual objectivism or re-constructing the contextual object, into an interpretive physical location as a utilitarian art-design object. With all the personal conflicts that comes with that- labour, sweat, sweetness, colour, economics, community shape shifting, formal politics of the state and final the politics of the object.

The political position will be the objective subjugation and eventual de-construction of the aesthetic object into a political norm of form. The object becomes tangled in the personal politico-ambitions of individuals and party, an innate form of Post Colonial political/educational heritage, which has evolved into Third-World Cultism.

 De-basing ensures that the art-object must at all time re-enforce its own politics despise the formal state, attempts to install a cultural/art policy, which will re-install formal political ambitions through the desire of the object. It’s growth, strength in defining and empowering space. 

Western economic rhetoric or personality will enforce certain conditionality’s onto the Third World object, developed through a position of Western philosophical thinking based on race based exploitation, that have recently showed the world of its intention of personifying the hedonism of Western labour market. It’s understood that economics must play an integral role in the ambitions of objectification. To be built, to be seen, displayed with all the ethical, philosophical and moral implication of a Third World objectification, there must be Third World economics.

Aesthetic economics   must insist in some way, to challenge economic thought, at the political, social and personal intent of normalize thought. It is through the constant critical participation of the constructive relation to the object that we will theorize a new political economic thought process, which will absorb the qualities of process, or at least refine how the economic operate around the object.

Aesthetics at this level will insist that we re-visit the social structure, de-construct purpose, and re-construct the criticality of purposeful objectification, which will recalculate the politics, the social and economics worth of the objective purpose.

Aesthetics will have to evolve through principle, in the constant acceptance of our truth, what will be presented must be analyzed within that context of constant context, constant dialog, constant construction, will develop an unavoidable truth of the politics of the art-designer, the state, the eventuality of economics of state, manufacturing and business communality.

The Incubator Space will be the operative physical intention of the Sculptural Playground Project, with the ambition of developing that constant space for dialogue that will eventual lead to theoretical and physical realities of the desire-able object.

There should be no hierarchy, no state, just circular thought pattern that allow for growth, achievements, rewards and developments. Circularity exists within the physical space. There is a square physical location, an entrance/exit, circular walking track, rectangular football field, rectangle cricket pitch with circular form. Then there is the play-space, which runs in a circular form through the obstacle course.

What have been created are cell structures, which vibrates certain amount of energy, which can be absorb by the other cells, creating living organism.

What we see in the above chart is the theoretical notion of the incubator space,

THE NEW SPACE.

The circular cell structure, should be notable as they all sit in some way separate, but involved with each other and only operates when one is dormant, there is a full appreciation that each form exist.

The concept of the invisible transient working forms existing within physical spaces, a physicality that can be utilized to construct physical objective dialogue and intellectual physical words, is plausible and already operates in a model that we can sustain, and has been operating as cell shops, virtual offices, pop-up stores, flexible industrial spaces, workshops etc.

The strength of the non-physical (above chart) structure is that it exist here, at this very moment, all it should take is to train that space to understand purpose of intent and develop a belief in that purpose of art-design aesthetic politics. It should be understood by technical crafts people that this is not only about the language of technicality but a morality and emergence of a philosophy of purpose, and a criticality of that purpose.

The physical centre model allows a more central dialogue that gives credence to what we’re all doing, concentrating it into an intense objective and emotional result, sustaining and deconstructing conceptual matter into physical and confrontational politics, theory, economics, social activism, technical data, local ritualism, cultural deconstruction/reconstruction, spiritual+religious metaphors, fantasy, dream building, planning, local philosophy, international relations, art design theory, class mobilization, economic reality, gender relations. Here the constant is operated and can be visualized.

Within the physical, abilities are made more front-ish within the circular dialog.

Here, a moral reality can be set, in the other Non Physical Model, the moral and ethical hard talk that’s necessary slips, it may not be as intense, into cyber space, with the possibility of becoming masturbatory and punking.

Attention to a detailed discourse should not be lost, the 8^th day wonder, our suffering of ADA, and our victimhood syndrome and present day distortions.

Conclusion, the desirable objectification, we all want for our personal spaces, can be achieved through the re-constitution of the desirable object. Political intention and confrontational dialogue between the artist-designer-crafts people- first. There must be direct relations between the artists, the state (or at least a respect of intellectual capacity) and the capitalist system, made up of the manufacturers, business, technocrats, bureaucrats and other diverse communities.

This reconstitution should be able to re-evaluate system and put forward a new aesthetic policy, that will benefit all.

But this can only be established only when we understand that the goals for one can be possible for all, even if the moment is about the sweet functional ability of space.

Aesthetic policy insist that order prevails in the subjective order of the object, there is this consciousness in design, a critical content, which makes it live, this is the desire, this is art motives, a democracy of intelligence, i.e. criticality.

Awareness, what is for? It’s that question, why we must engage the desirable object in a very communal conscious manner, through confrontation dialogue, which will draw on truth, exposing fakers, plagiarist and profiteers of the cultural economic matrix.

Through a consistent persistence to this objective order, confrontational aesthetic ordering, have the possibility of bringing an alternative political aesthetic ascension, from a dysfunctional normality, which can emulate and validate our human cultural characteristics.

An aesthetic policy democratizes not only the object, globalizes our intelligence; through process there is an internal and external physical and metaphysical evolution, that happening, that needs to be confronted and fed on, to be reconstituted into the other.

The art-design object aspires us to become that what we are not, it is the political acquisition of this aspiration through a revalued capitalist system, that can retell communal space. We propose that this euphoria can be available to all.

There is a disturbing beauty in the corrupted version and I’m sure that we’re inclined to hold to, moving from an understated position to an aesthetic order means systematic willingness to impale into the already overburden system a sense of languaging that will speak to governable, economics, community and the politics of our own ambitions.

The political realities and the political theory of the Sculptural Playground Project to build a physical space where the art-designer can articulate the political and economical transformational aesthetic discourse, will become all too real as it is presented to state, business and community.

It shall not be for want of trying, that we will succeed in the thought of presentation and the presentation of another theory, which can become the political discourse of the object.

This is not new, it just needs to be built.

Dean Arlen

Rio de Janeiro, Copacabana,
Brazil,
Windsor Plaza Hotel ,