The first locates a single position by crowding
the objects into a corner while the second creates a systematic
grid dependent on the co-ordination between the relation of the
objects to one another and to the external surround while the third
couples objects together using the span from the thumb to the tip
of the little finger while the fourth centres one object preferring
to omit the others while the fifth thinks of a whorl of hair which
turns to the right and is convinced the objects should be placed
like so while the sixth starts to arrange and rearrange the objects
busily scrutinising their positions before feeling fully satisfied.
an act of sitting
fold out paper chair design
one
Against the side wall, the white interior southern wall, a player
positions six chairs. They are simply crafted and alike in appearance
- they maintain aesthetic continuity. The player is particular with
the arrangement - the chairs are therefore aligned in regular ten
centimetre intervals - an equal distance from both the window and
the box. Their position suggests seating for an intimate audience
- with a frontal view available of the northern wall - here where
there are no cracks or marks nor any prominent features to ponder.
two
I know I am seated, my hands on my knees, because of the pressure
against my rump, against the soles of my feet, against the palms
of my hands, against my knees. Against my palms the pressure is
of my knees, against my knees of my palms, but what is it that presses
against my rump, against the soles of my feet?
Beckett
three
When asked what the function of the chair is you will most likely
offer: it asks one to sit. (Another would then naturally conclude:
yes - reliant on the laws of gravity, the chair must seek a player.)
four
...oh dear yes on the point yes Rose would put a chair and she would
sit there and yes she did care yes there she would
put a chair there there and everywhere she would see everywhere
and she would sit on that chair, yes there...
Gertrude Stein
five
There they are facing each other. A quiet tension. There was no
change. On the other side a certain angle in relation to another
occupation or occasion. And farther to the right (side by side)
well these ones are less established.
six
Ok, in this instance what has determined the scale and the generosity
of the seat.
an act
of viewing
(1) "Were you aware...
(2) "Did you know that...
(3) "Isn't it extraordinary how...
Room is remarkably diverse?...Room is forever adopting spatial codes?...Room's
identity is openly that of the hoarder, the accumulator?...Room
is defined by the actions it witnesses?...Room is but a variation
on a fundamental theme?...Room bestows many intimacies?...Room is
choreographed by the moving subject?...Room succumbs to mathematical
laws?...Room is an invitation to the opportunity or occasion to
view?
The important thing is the degree of control
we exercise.
Sometimes a memory is triggered and the viewer is drawn to familiarity.
Consider a window. Is it simply a void transversed
by a line of sight? No. In any case, the question would remain:
what line of sight - and whose? As a transitional object it has
two senses, two orientations: from inside to outside, and from outside
to inside. Each is marked in a specific way, and each bears the
mark of the other. Thus windows are differently framed outside (for
the outside) and inside (for the inside). Lefebvre
And what indeed was the content of the box.
What evoked the description. What were the visible boundaries, the
spatial codes. Was the interior large. Warm. Sterile. Was silence
achieved. Did you encounter diversity. How was your presence marked.
Did you appear from three-quarter view. Were you in profile. How
did surrounding objects then organise you.
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