0530-笔记

While specific size is a condition that structures one's response in terms of the more or less public or intimate, enormous objects in the class of monuments elicit a far more specific response to size quasize. That is, besides providing the condition for a set of responses, large-sized objects exhibit size more specifically as an element. It is the more conscious appraisal of size in monuments that makes for the quality of "scale." The awareness of scale is a function of the comparison made between that constant, one's body size, and the object. Space between the subject and the object is implied in such a comparison. In this sense space does not exist for intimate objects. A larger object includes more of the space around itself than does a smaller one. It is necessary literally to keep one's distance from large objects in order to take the whole of anyone view into one's field of vision. The smaller the object the closer one approaches it and, therefore, it has correspondingly less of a spatial field in which toexist for the viewer. It is this necessary greater distance of the object in space from our bodies, in order that it be seen at all, that structures the non-personal or public mode. However, it is just this distance between object and subject that creates a more extended situation, for physical participation becomes necessary. Just as there is no exclusion of literal space in large objects, neither is there an exclusion of the existing light.

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The better new work takes relationships out of the work and makes them a function of space, light, and the viewer's field of vision. The object is but one of the terms in the newer aesthetic. It is in some way more reflexive because one's awareness of oneself existing in the same space as the work is stronger than in previous work, with its many internal relationships. 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. Every internal relationship, whether it be set up by a structural division, a rich surface, or what have you, reduces the public, external quality of the object and tends to eliminate the viewer to the degree that these details pull him into an intimate relation with the work and out of the space in which the object exists.

—— Robert Morris - Notes on Sculpture, Part II

第一段我感觉是很好的关于作品“box for standing"的阐释