These six spaces are representational of the work done in the last 7 documents: they show an evolution of my work from abstract to literal. The first project, “Dream Spaces”, was an exploration of hypothetical space starting at its most complex elements (water, life forms, orientation in space) and devolving to its most abstract (simple lines and planes). Interestingly, this theme has continued into subsequent documents unintentionally. These works are a true representation of the elements of space that have informed my research since the very first document.
While “Hauntology” became a point of interest for me later in my process, all of these works are hauntological in their portrayal of the passage of time.
The two most recent experiments, “Waiting Room I and II”, explore the feeling of disconnection within a space that comes with intense focus on time as it passes.
This is also the most essential kind of space in regards to my research, because these waiting rooms not only deal with the theme of the passage of time, but also of the feeling of nostalgia that comes from re-experiencing a familiar but forgotten space. For me, this is the most effective illustration of what “Hauntology” means to me and its importance in my research.
These spaces explore a state of being inactive between two points in time; we visit these places periodically but they are always forgettable and impermanent, yet they exist everywhere and in every time period.
“Literal Space” is the direction that my physical work will continue in for the final document.
Literal: Waiting Room I; Waiting Room II
Hypothetical: Sound Landscape (collab. with Jasmina Avellanedas); Dream Space
Abstract: Rest, Rest; Light Sculpture (Collab. with Sara Martinsen)
“Dream Spaces” alters the scale of time, transporting the viewer through an evolution from present to primordial, and back again. This shows that evolution is cyclical.
The blue sound landscape is an experiment using basic elements of sound
These spaces are made up of fundamental elements of space: light, sound, and direction or movement. They serve as a foundation off of which a Hypothetical or Literal space can be built.
The final research document will examine the concept of Hauntology through periods of waiting and periods of transition. I want to explore the feeling of disconnection that often occurs in spaces that serve only the function of passing time. I am especially interested in the transitory nature of these spaces. Because they are not designed to accommodate someone for very long, they often have the feeling of being artificial. You exist on top of them rather than within them.
I want to explore the concept of a space that is difficult to connect with; to have the spectator become an observer of a flaneur à la Walter Benjamin, and to coexist with the others around them, experiencing the space together but not with each other. This disconnection will be explored through spatial “collaging”, an example of which can be seen in “Waiting Room II”.
There are several themes within this concept that I want to expand upon: the use of archaic technology is an important one. First, it will be used as a tool to show a space that exists in many times, and as a space unchanged by time. Secondly, it will be used for the feeling of nostalgia it might incite in the spectator, especially those of us who grew up in a time that was defined by its rapidly changing technological landscape. The next theme will be the idea of the “ghost”. The ghost is the layer of meaning embedded in the space that acts as an imprint of something or someone that once existed there. This might take the form of transparent materials, echoes in sound, and printed works.
For these reasons, I plan for my final research document to be be highly reproduced, so that eventually there will be no original; it will take many forms. The first will be a magazine, in which the content is broken into several articles exploring the nature of nostalgia, of waiting spaces, and of the philosophies and concepts that surround them for me. The second will be a continuously printing receipt, which is disposable, easily reproducible, and time-based.
Imprints in space/ devolution
Augé, Marc. Non-Places: Introduction to an Anthropology of Supermodernity. Verso Books, 1995.
Bradley, Jairus. “Why Millennials Are So Nostalgic.” The Odyssey, n.d. https://www.theodysseyonline.com/millennials-nostalgic.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Verso, 1969.
Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Psychology Press, 1994.
Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. John Hunt Publishing, 2014.