syn·site
in contemporary art terms: a "syn-site" is a conceptual space that encapsulates a multitude of experiences, observations, and interactions across various physical and digital locales. It is a dynamic, non-singular site that challenges conventional notions of place and situates itself within the discourse of network aesthetics. Drawing upon the theories of Robert Smithson, it re-works the concept of "site" to reflect the complexity and plurality of contemporary life and artistic practice. It is an artwork and a network, a space and a memory, an assertive threshold within the syntax of site. It is both a product and a critique of the interconnected, networked nature of the contemporary world, and serves as a tool for artists to explore the entanglements of the specific and the abstract, the internal and external, the actual and the virtual.
in contemporary art terms: a "syn-site" is a conceptual space that encapsulates a multitude of experiences, observations, and interactions across various physical and digital locales. It is a dynamic, non-singular site that challenges conventional notions of place and situates itself within the discourse of network aesthetics. Drawing upon the theories of Robert Smithson, it re-works the concept of "site" to reflect the complexity and plurality of contemporary life and artistic practice. It is an artwork and a network, a space and a memory, an assertive threshold within the syntax of site. It is both a product and a critique of the interconnected, networked nature of the contemporary world, and serves as a tool for artists to explore the entanglements of the specific and the abstract, the internal and external, the actual and the virtual.
SYN (along with, at the same time | from Greek SYN, with | ~SYNTHETIC) + SITE (N: point of event, occupied space, internet address; V: to place in position | from Latin SITUS, location, idleness, forgetfulness | ~WEBSITE ¬cite ¬sight), cf. SITE/NON-SITE (from Robert Smithson, A PROVISIONAL THEORY OF NONSITES, 1968)
"Part of the Anthropocene’s appeal was the sound of the word itself: portentous, stately, vaguely Latinate, imbued with a dark majesty. Another part of its appeal was its capaciousness — large enough to swallow the whole planet and everything that lives on it."
— Wesley Yang, NYT Magazine (via https://www.nytimes.com/2017/02/14/magazine/is-the-anthropocene-era-a-condemnation-of-human-interference-or-a-call-for-more.html)
"Part of the Anthropocene’s appeal was the sound of the word itself: portentous, stately, vaguely Latinate, imbued with a dark majesty. Another part of its appeal was its capaciousness — large enough to swallow the whole planet and everything that lives on it."
— Wesley Yang, NYT Magazine (via https://www.nytimes.com/2017/02/14/magazine/is-the-anthropocene-era-a-condemnation-of-human-interference-or-a-call-for-more.html)
"Part of the Anthropocene’s appeal was the sound of the word itself: portentous, stately, vaguely Latinate, imbued with a dark majesty. Another part of its appeal was its capaciousness — large enough to swallow the whole planet and everything that lives on it."
— Wesley Yang, NYT Magazine (via https://www.nytimes.com/2017/02/14/magazine/is-the-anthropocene-era-a-condemnation-of-human-interference-or-a-call-for-more.html)
James Bridle on Wexler's warnings about indirect climate change (in the context of aspirational climate control):
"Before going into the details of several proposed weather modification programmers, Wexler gave a stark warning. He cited rising carbon dioxide emissions from industry, and the use of chlorine and bromine in rocket fuel as examples of indirect weather control. This tinkering might result in “rather large-scale effects on general circulation patterns in short or long periods, even approaching that of climatic change. Make no mistake,” he said, “We are in weather control now.”
James Bridle on Wexler's warnings about indirect climate change (in the context of aspirational climate control):
"Before going into the details of several proposed weather modification programmers, Wexler gave a stark warning. He cited rising carbon dioxide emissions from industry, and the use of chlorine and bromine in rocket fuel as examples of indirect weather control. This tinkering might result in “rather large-scale effects on general circulation patterns in short or long periods, even approaching that of climatic change. Make no mistake,” he said, “We are in weather control now.”
James Bridle on Wexler's warnings about indirect climate change (in the context of aspirational climate control):
"Before going into the details of several proposed weather modification programmers, Wexler gave a stark warning. He cited rising carbon dioxide emissions from industry, and the use of chlorine and bromine in rocket fuel as examples of indirect weather control. This tinkering might result in “rather large-scale effects on general circulation patterns in short or long periods, even approaching that of climatic change. Make no mistake,” he said, “We are in weather control now.”
