MANIFESTO - THE THEORETICAL IMPLICATION OF PLAY STRUCTURALISM- A PERFORMANCE IN SYSTEMS RE-INTERPRETATION - THE POLITICS OF ART IN THE SCULPTURAL PLAYGROUND PROJECT

MANIFESTO

THE THEORETICAL IMPLICATION OF PLAY STRUCTURALISM.

A PERFORMANCE IN SYSTEM RE-INTERPRETATION.

THE POLITICS OF ART IN THE SCULPTURAL PLAYGROUND PROJECT.

 

 16  September 2014.

TREE HOUSE

 The State; position will be the art-objective subjugation and eventual re- 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, perspiration, purity, influence, economics, community shape shifting, formal politics of the state and finally; the politics of the object. The concept of memory within the radical, ethical and philosophical re-editing of objectification in the art-design object; is an important factor in revolutionizing post-colonial spaces. Memory has the possibilities of re-positioning art-design within the discourse of development of people; rather than an elitist’s privilege of fancy; decadence of power and wealth.   

construction of the aesthetic purpose into a political form; which can deconstruct and reconstruct in an oblivious nature of art-design potentialities; interferring the natural evolution of the politics of communal spaces. 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.

The Sculptural Playground Project will insist that the art-design object be rethought, de-mystified, democratised; re-socialized in the proper mannerism due. 

LOCATION MAP OF SPACE

 Degrading; of the artists and in consequence the object; ensures that the art-object must at all time re-enforce its own politics, despite the formal state, attempts to install a cultural/art policy, which really insist in re-installing formal political ambitions through the desirability of the object. The party not the people becomes empowered in their strength in defining and empowering space. 

Global economic; rhetoric, which enforces certain conditionality’s onto the Third World object; developed through a position of Western philosophical thinking based on race based exploitation (slavery) and imperialism that have recently showed the world (post economic crash) its intention of personifying the hedonism of Western exploitation of labour and markets as the default position for global economic thought. 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 an attention to an economics or communal re-evaluation; which takes into consideration re-values the materialities.

HERE YOU CAN SEE THE CIRCULAR MOTION IN ACTION, THE OPERATIONAL MODEL OF THIS SPACE, WILL BE THE OPERATIONAL MODEL OF THE INNOVATION SPACE.

Aesthetic economics; must insist in some way, to challenge popular economic thought, at the state, social and the personal. It’s through a constant critical process; that is relational to the process towards the being of art objectivity; which will re-theorize a new political economic thought, absorbing the qualities of process, or, refining how economics operate around the development of the desirable object. We will re-evaluate labour; its personal position to the object; its personal relation to economics.

Aesthetics Politics; insist that we re-visit the social structure, de-construct purpose, and re-construct the criticality of purposeful art objectification, recalculating the politics of the social space. Understanding that within objectivity lays an inherent economic truth.

Aesthetics will have to evolve through principle, in the constant acceptance of the indigenous, objectivity must be analyzed within that context of constant context, constant dialog, constant construction, evolves an unavoidable truth of the politics of the art-designer, the state, the eventuality of economics of state, manufacturing, business, communality…

The Incubator Space; will be the operative physical intention of the Sculptural Playground Project, the ambition of developing its physical installation; will cultivate a constant dialogue; through process; eventually leading to theoretical and physical realities for the desirable object.

PROPOSED INCUBATOR SPACE - HERE WE WILL BE ABLE TO INACT THE ACTION TOWARDS THE POLITICS OF INNOVATION. THIS MEANS A PROJECT BASED CENTRE OF ACTIVISM, THAT IS GUIDED WITH CLEAR ARTICULATION TOWARDS THE DECONSTRUCTION OF THE STEROTYPICAL NOTIONS OF ART AND DESIGN.

There should be no hierarchy, no implied notion of one voice, just circular thought pattern that allow for destruction, growth, achievements, rewards and development of desirability. Circularity exists within physical spaces; the home, the office, the industrial, the communal. The space where the Sculptural Playground Project; is proposed to be installed; The Orange Grove Savannah, Tacarigua, Trinidad and Tobago, The Caribbean - there is 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 of communalism, the village, the tribe. The intention is to imply that logic; of circular dialog to the physical incubator space. At the centre sits art desirable-objective, in a circular dialog will stand, craftspeople, artists, intellectuals, business peoples, engineers, architects, designers… forming a society for communities. 

The circular cell structure; are separate, at the same time involved with each other, operating when one is dormant, with 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 art-objective dialogues using intellectual physical worlds (Non Physical Form), is plausible and already operates indigenously in our urban and rural spaces; owning their own eco-systems, they operate as mom and pop workshops, cell shops, virtual offices, pop-up stores, flexible industrials spaces, workshops etc. We need to harness the genetic molecules of memory of these spaces, pull from their veins indigenous engineering intellectualism; which can provide for the new desirability of consumption.

CELLS STRUCTURE.

 

The strength of the non-physical (Intellectual Physical Worlds, above chart) structure is that it exist, in the moment, we need to train that space to understand purpose; of intent; developing a belief in purpose; for art-design aesthetic politics. That understanding of purpose of art-design needs to be transmitted to our technical crafts people; that this purpose is not only about the language of technicality but a morality and emergence of a philosophy of purpose, and a criticality of that purpose. These Intellectual physical centres can be found within the urban landscape, that runs from the East; the City of Port of Spain to the city of Arima in the West.

These Institutions are:

• The University of the West Indies, UWI – Research and Development Institution.
• The University of the Trinidad and Tobago, UTT – Technical training institution; from fashion to engineering.
• Metal Industries Company Limited, MIC – Craft Training Institution – Woodwork to Metal to foundry.
• Independent Artists Groups – Studio 66, Alice Yard, Artists Society of Trinidad and Tobago, Institute of Architects Trinidad and Tobago, Planners Association of Trinidad and Tobago etc..
• Independent workshops, crafts peoples, trades peoples…

THE PHYSICAL CENTRE MODEL - IN THIS SCENARIO THERE SITS A CENTRE, A HOUSE WHERE THE PHYSICAL CONTRUCTION TAKES PLACE. HERE WE WILL BE ABLE TO LIVE, BUILD, CONVERSE AT LENGHT WIDE VIEWS OF PROJECTS BEING ATTEMPTED. THE PHYSICAL CENTRE IS CONNECTED TO OTHER INNOVATIVE ACTIVITIES.

 

The physical centre (Incubator Space); model allows a more centred dialogue that gives credence to what we’re all doing, concentrating it into an intense

art-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, economic theory, gender relations… Here these constant are explored and visualized; to be instantly deconstructed once more.

Memory sits at the cornerstone of memorializing the contemporary post-colonial indigenous art-object for consumption. Art-Design sits at the centre of re-negotiating the indigenous object towards desirability.

 

THE NON PHYSICAL STRUCTURE  - IN THIS MODEL THERE IS AN INTERFACE THAT HAPPENS, MAYBE THROUGH A WEB LINK THAT KEEPS DATA ON ISSUES OF INNOVATION, IN REAL TIME. HERE THE DESIGN LOGS IN WITH PROJECTS, THERE PROJECTS CAN BE ENTERED INTO THE CONVERSATION.

Towards desirability of objectification; a face to face confrontation between class systems; of ethnicity, professional and gender needs to happen, this can  happen at the centre of physical model; within the circular process of production; lies the ability to deconstruct form. Developing an alternative understanding of indigenous intellectual, ethical and philosophical conceptualization of new formality. The new form with it inherent nobility sets the stage for how it will operate within the communal; the new forms ability to infuse nobility to people and space sits with its desirability, which sits in a design indigeneity. The relational to the internal spiritual intellectual understanding of reform is important to the deconstruction of the oppressive object.

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, cyber space; becomes the acknowledge language, with the possibility of becoming masturbatory and imprudent.

Attention to a detailed discourse should not be lost, the 8^th day wonder, the suffering of Attention Deficient Disorder, historical victimhood syndrome, the imperial notion of the individual as the new nationality, where the individual rather than the community is given currency.

Memory – within the Physical Centre Model or the Non-Physical Form Model of development; the constant in the dialogue is memory; or the recognition of the historical realities of space, people and the objects new desirability. Here lies the nucleus, in revolutionizing the desirability of the consumer-able design product. Challenging how production, imperialism and capitalism can operate within a space, a community and nation. Designing within memory of space and people, holds the possibility of evolving new paradigms for art, sculpture, architecture and design in post-colonial spaces, developing countries and ghettoized spaces in our communities. There can be no revolution without a historical thought in design conceptualization towards re-production, re-marketing and re-economics.

One practical model, to accomplishing this; we will look at what people have recorded in their personal memories through photos, social gatherings, parties, pictures of their personal spaces – kitchens, bathrooms, living rooms, bedroom. Studio photos from their past, pictures of their spiritual journeys, at the beach, just being. We will also go into real time space of the community to grab, pull, borrow, talk, feel what the community in real time is saying. Here you grab, pull, extract, borrow, till iconography is developed, grow it, nurture it till we have something that can affect feelings within that one person, family, friend, neighbour, community. A multitude of one iconography towards a communal feeling of well being is the idea, that individual cells build into one body, one community, one social cell structure. Bounded together through aesthetic empowerment, design... art.  What should happen, as we move from one community to another, we should find more similarities rather than opposites.

  

Conclusion, the desirable objectification, we all want for our personal spaces, can be achieved through the re-constitution of the desirable art-object. Political intention and confrontational dialogue between the artist-designer-crafts people-manufacture and state must happen, encouraged; towards the mannerism needed in the reconstitution of a new manifesto. 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.

This can only be established; when the intellectual worlds understand the goals of purposeful intention for the desirability of the new art-object.

Aesthetic policy must 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 desirer, this is art motives, a democracy of intelligence, i.e. the democracy of criticality.

Awareness; We must engage the desirable object in a very communal conscious manner, through confrontation we will draw on truth, expose fakers, plagiarist and profiteers of the cultural art-object.

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 provoked and fed on; be reconstituted into the other.

This new 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 restate 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 governability, economics, community and the politics of our own ambitions.

Present political theoretical realities and the aesthetic political theory of the Sculptural Playground Project to build a physical space where the art-designers can articulate theoretically and practically; a political and economic transformational discourse, developing emotional confliction; as it is presented to state, business and community.

Success lies in thought; the presentation of the theoretical proposition of the Sculptural Playground Project; if not another; is desired, if not for the survival of the art-designers community, the community in which we inhabit, our identity, but for our shear humanity as we negotiate space.

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

Dean Arlen