Perlina and the frayed knot window display. #window #beadshop #georgia #savannah #perlina #thefrayedknot #tree #moss #fiber #beads (Taken with Instagram at Perlina bead shop)
“There needs to be a shift in values, together with a shift in thinking. A shift from fragmentation to wholeness, from quantity to quality, from growth to sustainability, from domination to partnership.”
— Fritjof Capra
Rhythm (from Greek ῥυθμός—rhythmos, “any regular recurring motion, symmetry”[1]) may be generally defined as a “movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions.”[2] This general meaning of regular recurrence or pattern in time may be applied to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years.
In the performance arts rhythm is the timing of events on a human scale; of musical sounds and silences, of the steps of a dance, or the meter of spoken language and poetry. Rhythm may also refer to visual presentation, as “timed movement through space.”[3] and a common language of pattern unites rhythm with geometry. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston,[4]Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty,[5] William Rothstein and Joel Lester.
Rhythm is made up of sounds and silences. These sound and silences are put together to form a pattern of sounds which are repeated to create a rhythm. A rhythm has a steady beat, but it may also have different kinds of beats. Some beats may be stronger, longer, shorter or softer than others. In a single piece of music, a composer can use many different rhythms.
Olafur Elisasson’s The Relativity of your Reality
I believe art is a practice through which vital aspects of society and life may be examined, challenged, and renegotiated. Cultural practices such as art are not driven by capitalistic values, but operate through ideas and reflections about the values that define sociality, about how experience and ethics are intertwined, and ultimately how subjectivity is defined. My interest in architecture, space, time, and art thus comes from a fundamental interest in human beings and in our potential to reevaluate the conditions that determine or influence our sense of subjectivity. Our ability to reevaluate existing structures and systems, such as the still prevalent Modernistic ideas about space and their value systems, requires a critical engagement with the world. The spatial language of dimensionality I have chosen to explore is clearly also a construction, but when waves and frequencies are understood as spatial principles, they become elements of this dimensional conception, which in its critical perspective function as possible models for the understanding and renegotiation of space. And it is the renegotiation of the hegemonious values of Modernist spaces that is relevant to the times we live in. Therefore what we must do is challenge the ways in which we engage with our surroundings, and here, I believe, art has a great potential; it not only encourages critical engagement, but also introduces a sense of responsibility in our engagement that has political as well as social and ethical consequences.
