POST MODERN PERCEPTION……..does form have inherent meaning?
Can landscape architecture truly embrace post-modern interdisciplinary practice? Using the tenet that post-modernism dissolves the notion of practice being singular within a discipline, this abstract is arguing that Sinatra and Murphy is essentially a post- modern practice due to the collaboration of; installation art, cultural discourse and environment and political literature.
Rogar Mourad discusses the importance of interdisciplinary practice to post modern theory;
““Thus cross disciplinary suggests that post modern forms of enquiry could move beyond
the disciplines entirely to knew forms of knowledge” pp 113-140, Mourad R, 1997
A focus on installation art demonstrates the practice’s focus on an interdisciplinary approach to design. Their Frankston project realised form, from mapping the movement of aquatic life. This process involved sketching the way a hypothetical animal would move through liquid. The finalised form was suspended in a laneway, placing the viewer at a vantage point of being submerged. Using a hypothetical aquatic form allows the viewer to assume their own interpretation of the installation art and thus references, Roland Barthes theory, death of the author. Barthes theory states that once something is in the public realm, the creator can no longer have control over its original intent or meaning.
Sinatra and Murphy address paradigms of nature by heavily focusing on the usage of materials sourced from local provenance and materials that are loaded with cultural meaning. The Sinatra Murphy, project, Riawunna, (located at the University of Tasmania, Launceston), aims to retain some authorship of meaning , to specific audiences, by the materials used;
”The dolerite stones make a reference to Launceston's Gorge, which was a source of inspiration during the workshop and is considered a place of spiritual significance.” Jim Sinatra 2010
This project has been created in collaboration the Tasmanian indigenous community and the planting of culturally significant plants, incrementally, will enrich the cultural coding of the project.
Form alone cannot indicate a post modern landscape as perception creates the space and form becomes a trigger to mould the mental landscape.
BIBLIOGRAPHY
Foucalt, Michael, 1979, Dicipline and Punishment, Penguin
Lyotard, Jean Francois, 1977, The Post Modern Conditon; A report on Knowledge, online journal RMIT
Barthes, Roland, 1984, The rustle of language, pp69-75, Hill and Wang
Mourad, Rogar, 1997, Review of higher education, pp 113- 140, online journal RMIT
Barthes, Roland, 1978, Image of Music and Text, Hill and Wang,
Alistair Kirkpatrick s3028071
Can landscape architecture truly embrace post-modern interdisciplinary practice? Using the tenet that post-modernism dissolves the notion of practice being singular within a discipline, this abstract is arguing that Sinatra and Murphy is essentially a post- modern practice due to the collaboration of; installation art, cultural discourse and environment and political literature.
Rogar Mourad discusses the importance of interdisciplinary practice to post modern theory;
““Thus cross disciplinary suggests that post modern forms of enquiry could move beyond
the disciplines entirely to knew forms of knowledge” pp 113-140, Mourad R, 1997
A focus on installation art demonstrates the practice’s focus on an interdisciplinary approach to design. Their Frankston project realised form, from mapping the movement of aquatic life. This process involved sketching the way a hypothetical animal would move through liquid. The finalised form was suspended in a laneway, placing the viewer at a vantage point of being submerged. Using a hypothetical aquatic form allows the viewer to assume their own interpretation of the installation art and thus references, Roland Barthes theory, death of the author. Barthes theory states that once something is in the public realm, the creator can no longer have control over its original intent or meaning.
Sinatra and Murphy address paradigms of nature by heavily focusing on the usage of materials sourced from local provenance and materials that are loaded with cultural meaning. The Sinatra Murphy, project, Riawunna, (located at the University of Tasmania, Launceston), aims to retain some authorship of meaning , to specific audiences, by the materials used;
”The dolerite stones make a reference to Launceston's Gorge, which was a source of inspiration during the workshop and is considered a place of spiritual significance.” Jim Sinatra 2010
This project has been created in collaboration the Tasmanian indigenous community and the planting of culturally significant plants, incrementally, will enrich the cultural coding of the project.
Form alone cannot indicate a post modern landscape as perception creates the space and form becomes a trigger to mould the mental landscape.
BIBLIOGRAPHY
Foucalt, Michael, 1979, Dicipline and Punishment, Penguin
Lyotard, Jean Francois, 1977, The Post Modern Conditon; A report on Knowledge, online journal RMIT
Barthes, Roland, 1984, The rustle of language, pp69-75, Hill and Wang
Mourad, Rogar, 1997, Review of higher education, pp 113- 140, online journal RMIT
Barthes, Roland, 1978, Image of Music and Text, Hill and Wang,
Alistair Kirkpatrick s3028071
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