from a pdf:

"the city gives the illusion that the world doesn't exist , smithson 1966"
"Western scientific thought describes the individual as becoming egocentric when he

learns to distinguish himself from the rest of the world he experiences around him.

This is the Freudian concept of the ego. But according to Zen masters this

separateness is pure illusion. Rather we are all that we perceive. The Eastern

 philosophies of Zen contest the worldview that we are separate from nature and from

our environment. Zen thinking explains this feeling of separateness from the world

around us as something we were taught as babies until the time we inculcated it

(Juniper 2003, 22-23)."

- "It is only by immersing ourselves in the time of nature that we can distance ourselves from aspects

of our ego and return to a state of connection"

http://socks-studio.com/2015/03/26/per-kirkebys-brick-sculptures/ 

https://en.wikipedia.org/wiki/Folding_screen

what would happen if we were to go about this in such a way that would bring the viewer back into a more child like state? using the senses, and perception of space. creating stimuli. 

this is a good read, aramis sent it to some of his students.

http://www.sitemason.com/element/967qops/2014/03/25/stalking-the-transient-transcendent-moment.781394

Jenny Holzer Truism

Printed Matter 

535 West 22nd Street

Chelsea

Through Sept. 30

In the late 1970's, Jenny Holzer saw the future, and it had writing on it. Along with language-oriented artists in a range of art mediums -- among them Jean-Michel Basquiat, Barbara Kruger, Louise Lawler and Christopher Wool -- she concluded that signage was the way to go. Ms. Holzer, in particular, favored immediate communication and broad distribution, which for her came down to blunt, pungently expressed thoughts conveyed by cheap, ubiquitous means. 

This well-done survey of her multiples and editions begins with ''Truisms,'' which were initially printed on cheap colored paper and plastered on the walls of the East Village in the late 1970's. It concludes with mini-LED displays whose phrases flow by one letter at a time, making them tedious to read. 

In between, phrases in several languages from Ms. Holzer's ''Truisms,'' ''Laments,'' ''Survival'' and ''Lustmord'' series appear on T-shirts, baseball hats, coffee cups, bumper stickers, posters and paperweights, as well as in the form of rubber stamps, tattoos (photographs of them) and small books. 

Obviously, there is a lot of recycling going on, and some fusions of language and discardable object or low-level collectable are better than others. ''Expiring for Love Is Beautiful but Stupid'' is more effective as a tattoo than on a condom. On a golf ball, ''Torture Is Barbaric'' seems practically trite, but ''Lack of Charisma Can Be Fatal'' somehow fits. ''If You're Considered Useless, No One Will Feed You Anymore'' seems perfect for a Styrofoam cup, while ''The Future Is Stupid'' might work just about anywhere, given your mood. 

Because of Printed Matter's limited square-footage and focus on published works by artists, the show omits the large LED installations and the granite benches that Ms. Holzer eventually began making, which may be for the best. Her social probing could turn hectoring and hypocritical as the production costs and scale of her art increased. 

But here, her flat, insistent sound bites mostly hit home, their compactness and unexpected locations causing that particular giddiness of recognition that only words can. They change voice effortlessly, raise consciousness on various fronts and evoke specific, often horrific situations. 

Ms. Holzer has never shied away from language's terrifying conjuring powers, sometimes to the point of melodrama, as in ''Shriek When the Pain Hits During Interrogation.'' Unfortunately, the world has caught up with her sense of apocalyptic foreboding and an imminent totalitarianism. Phrases like ''Abuse of Power Comes as No Surprise,'' ''The Beginning of the War Will Be Secret'' and ''I Am Awake in the Place Where Women Die'' are all freshly pertinent, if cold comfort, in times like these. ROBERTA SMITH 

Photo: An installation view of ''Protect Me From What I Want,'' an exhibition of Jenny Holzer's multiples and editions at Printed Matter in Chelsea. (Printed Matter Inc.)

Chapter One - The Ethics of Earth Art

http://docdro.id/tWUfwYP

This is a PDF of the first chapter of The Ethic of Earth Arts by Amanda Boetzkes. It analyzes the development of the earth art movement, stating that artists are connected through their clarification of the earth as a domain of ethical concern. It's a contrast between the human world and the earth; how earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.

Robert Smithson - "A Sedimentation of the Mind: Earth Projects"

In this essay, Smithson discusses the necessity for art to break physical boundaries by analyzing the relationship of materials and the art-historical context of several works. He finds parallels between aspects of the human mind and certain terrains and environments, and mentions how industry and commodity have affected the existence and making of objects negatively. It's a bit wordy, and he throws in some wild metaphors that I don't follow, but it seems to cover the main philosophical ideas behind land art with considerable depth.

https://monoskop.org/images/5/5c/Smithson_Robert_1968_1979_A_Sedimentation_of_the_Mind_Earth_Projects.pdf

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