Sleepers A Poem by Nick Trombley m o t i o n l e s s m o t i o n l s e s m o t i o n s l e s m o t i o s n l e s m o t i s o n l e s m o t s i o n l e s m o s t i o n l e s m s o t i o n l e s s m o t i o n l e s s o m t i o n l e s s o m t i n o l e s s o m t n i o l e s s o m n t i o l e s s o m n t o i l e s s o m n o t i l e s s o m n o t l i e s s o m n o l t i e s s o m n o l i t e s Concrete poetry sleepeuphony
Because we have to sleep Two nights later, as he was getting ready to bed down, the boy looked for the star they followed every night. He thought that the horizon was a bit lower than it had been, because he seemed to see stars on the desert itself. "It's the oasis," said the camel driver. "Well, why don't we go there right now?" the boy asked. "Because we have to sleep." Paulo Coelho, The Alchemist sleep
To carve a volume into the void of darkness The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city. Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses sounddarknesssleepsolitude
Traced in the summer skies Yes, it was the hour when, a long time ago, I was perfectly content. What awaited me back then was always a night of easy, dreamless sleep. And yet something had changed, since it was back to my cell that I went to wait for the next day…as if familiar paths traced in summer skies could lead as easily to prison as to the sleep of the innocent. Albert Camus, The Stranger sleepcrime
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Michael Auping, Stealth Architecture: The Rooms of Light and Space Conditional art architecture