A floor piece may consist of one single structure or multiple units with
a defined spatial relationship that as a whole comprises the work of art.
She then executes a «plan» rooted in geometric and volumetric calculations and precisely
defined spatial relationships.
Not exact matches
Each such case would involve a matching of
spatial and temporal scales between the
defining network of
relationships (subjective aim?)
Observing devices, either within the region of the dissipative structure or outside of it, may detect regular oscillations caused by variations of components of the structure, or, if their temporal or
spatial resolving power is not high enough for that, they may detect only a new, averaged reading, corresponding to a novel state of affairs brought about by the closure of the set of
relationships which
defines the dissipative structure.
Due to the free rotation of the side - chains, it was not straightforward to
define the mutual
spatial relationships among the functional groups, although previous studies had reported the fixed distances between Cβ atoms substituted with key functional groups on the rigid cyclic peptide nucleus.
The artist's compositions are characterized by arcing and asymmetrically balanced forms and are
defined by precise
spatial and proportional
relationships.
Robert Morris's reflections on what he called «the better new work»
defined this pursuit: «One is more aware than before that he himself is establishing
relationships as he apprehends the object from various positions and under varying conditions of light and
spatial context.»
The
spatial relationships created from this process and Still's vision, especially as seen in PH - 234,
defined his mastery of the canvas and set him apart from his colleagues such as Pollock, Newman and Rothko.
Stephen Prina's The Second Sentence of Everything I Read Is You: Mourning Sex (2005 — 7) has all the markings of a work of institutional critique, that loosely
defined genre of contemporary art that seeks to evaluate and question the position of art in
relationship to various cultural and political contexts.4 Looking beyond the frame of the artwork itself, works of institutional critique recognize that art exists within a discursive field and grapple with the concentric or overlapping circles of
spatial, temporal, cultural, social, economic, and political structures — or «institutions» — that «frame» the work in other ways.
This
spatial power
relationship is generally observed as existing within a hyper - segregated hierarchical power regime, characterized by socioeconomic divisions
defined by class categories or tribal based constructs, manifesting along bloodlines, ethnicity, race, religion, political identity, language, and cultural traits.