Sentences on Gestalt

This work with sentences on gestalt and work started three years ago. I come from art/design practice into academia in the late 90`s and it is especially important for me to bring in the unique qualities of digital media as a material and its methods and process in relation to the physical and real worlds. This is a way for me in co-creation with others to practice, thinking and gaining systematic insights in relation what can be created.

Inspired of The American artist Sol LeWitt and his Sentences on Conceptual art I started to develop my own sentences to guide my work. So far there are 14 sentences.

 

  1. In most of my work I approach Gestalt as an inquiry method influenced by theories from Design where Gestalt creation is analogous to a design process resulting in knowledge acquired during the process, and a artefact storing that knowledge in some way.
  2. The gestalt can thus be viewed as a process of knowledge acquisition or learning from the previously unknown. The knowledge acquired pertains not only to the particular domain of the gestalt, but to the process itself. That is, we acquire knowledge on how to evolve both gestalt and process.
  3. From art borrow the different moods of expressions, material aspects, embodied knowledge and formatting activities (concepts) it sets up on many different levels.
  4. Gestalt in its making is a practiced space to think, digest and re-work what has been the object of investigation, it is a matter of adding knowledge, linking what we already know and spotting the new”, that differs from merely observations and also extend knowledge and observations as a bi-product into other practices and science.
  5. A gestalt begins when its parts and what they signify exceeds their signification. When what means one thing, or conventionally functions on one role, discloses other possibilities, a double movement occurs, in which new families of association and structures of meaning are established.
  6. It is an approach that does not explicitly define and reduce objects to a sole function, but instead enables objects to continually generate something else, to develop hidden potentials. To be discovered or re-discovered.
  7. It is furthermore a method whose applicability in no way is confined to resolute, practical problems, but a method that may as well be used theoretically, poetically, hallucinatory, phantasmatically etc.
  8. The experience working in multidisciplinary settings with gestalt through artifact creation and as one surface of communicating and testing our ideas is hard a one, because is not easily done since each discipline has its own context and formats for communicating and executing its findings, conferences, exhibitions, etc, and by doing so only use selected parts of the overall Gestalt, and therefore disregarding the whole.
  9. Try to work with gestalt that is generative rather than produced. Generative in the sense that they have nor original nor final form. They are sprung out of a chain of associations, through our work process and methods that generate new forms, which in its turn recombines into new wholes.
  10. The work does not solely illustrate a concept, it should grasp systematic insights through its generated realities, through the parts and the whole, the complementary and antagonistic, the product and the producer.
  11. The friction created by letting the work evolve in specific procedures, materials, and media, let us explore this area by complex connections through iteration between artistic intentions/screenwriting, digitally generated expressions, procedurals, physical objects, and script/code writing, where we try to game the rules of play.
  12. Also working with the gestalt as a source of communication, and is the key to the ability to work in ambiguity – to explore different possibilities without too early jumping to conclusions. Often it means undoing the connections between program, objects, signs, and images which constitutes what we intend as reality, and at the same time drawing attention to the methods of making this happened.
  13. The gestalt also acts as generators while they generate new and unforeseen processes, which extend into new and likewise unforeseen contexts. Where the people and professions involved disseminate their knowledge into the artifact, also extracting something which can inform their own and future practice.
  14. This creates the time to add idea upon idea, returning in several steps to the same subject, and allowing a space to think, digest and re-work what has been the object of investigation. It is a matter of adding knowledge, linking what we already know, and spotting the new in a sequence with other knowledge and its methods, formats of creation and inquiry.