From Carrying, Creating To Dwelling

Artifacts,with "arti-" that suggests the transformation by human hand and with "fact",something that can be perceived by human beings(either tactile or visual).Artifacts have recorded many of the ways and experiences in which humans understand and shape the world.Later on,certain artifacts were designated with a particular definition as ’art’,giving them a meaning beyond that of ordinary ones.Humans have determinate uprightness,symmetry,facing,grasps,reaches and strides,its typical structure,capacities and relations.Thus artifacts,which art taken as whole,have a certain universality—the spatial-temporality of humans.Humans learn to walk on plane or surfaces,that may be treated as if they were planes,makes a new system of choices possible,choices that inevitably assume real spatial forms and relations.For most people,art refers to those that exist on the surface.However,here it does not refer to the term ’graphic art’,but rather to the fields formed in specific ways,accommodating between drives and the conditions of human,who are always perpendicular to earth,the very origin of any plane and surface(and one of the given conditions of spatio-temporality).There are as many languages as there are arts,and as many human communities separated by time and space,where materials,techniques and ideas are separate or intermingled to form artistic traditions.Art or artifacts,developing some conditional possibilities of representations in response to given parameters of human body and different purposes,should be seen in the actual institutionalizations of social relations and thus run counter to the rejection of collective ‘aesthetics’.Human being,including the makers,the users(and in some cases the viewer),standing on the plane of the earth,creates spaces by linking the physical act of making or using with real space in which he or she is situated—positional,social,optical,or even virtual space(meta-optical).Structural linguistics,which sees language as a systematic structure of agreed symbols,emphasizing its synchronicity rather than its diachronic evolution,is equally applicable to the treatment of human artifacts within various artistic traditions(i.e.specific to time,space and culture).The examination of the production,meaning,purpose and significance of ’artifacts’ as they appear in various artistic traditions would bring back to light the fundamental experience of human beings that has been obscured ——plane and planarity.Space that humans can understand and perceive is three-dimensional —lengths not on the same plane of three directions.The co-ordinate,mathematical space of classical modern physics,the meta-optical space which has become the space of modern—the two-dimensionality is an abstraction of the world,a conceptual means of understanding and grasping the world,based on which higher-dimension space can be imagined.The most concrete form of ’two-dimensional’ is any plane in real space.Although real space in which we share with others may be describe relative to this co-ordinate system,the origin and configuration of real space were not to be understood through such description at the very early age.Today art has come to a new territory of ’virtual space’ through ’interface’.The emergence of interface is rooted in the human understanding,usage and creation of the plane and planarity.The plane is so deeply lodged in our metaphorical understanding of human perception,imagination and thought,and embedded in all conditions of presentation.Plane belong to the realm of human form and we learn to think and order and conduct our lives in terms of planar relations.Thus to return to the plane and planarity,is not to ignore,or to detach from spatiality,but to dissolve the opposition between ’planarity’ and ’spatiality’.From the very first plane that supports humans,to today’s ’interfaces’,plane has always been the thread that links the ideas and technologies of human civilization over millions of years.