3. Entangled Things
EXPERIMENT 1: Pedestrian Traffic.
Cones are laid out across a footpath. People generally avoid/obey the cones by the method they deem most appropriate. People consciously consider their reaction to the cones. They are recognised as an icon of authority and therefore are obeyed/considered.
EXPERIMENT 2: Remove Colour.
This experiment acts as a kind of 'control' versus [Experiment 1]. People ignore the cones, as they are no longer painted as a recognisable icon of warning. People do not see the cones, as they are no longer a highly-visible colour.
EXPERIMENT 3: Road Traffic.
Cones are arranged on the road in a nondescript pattern, so as to make the intended instruction/communication less apparent. Cones are completely obeyed. Perhaps the physical distance between the driver's eye level and the cones made it difficult for the driver to
distinguish the ice cream cones from legitimate traffic cones? Car traffic is accustomed to obeying traffic cones: it is a firmly established behaviour. Directing car traffic warranted a reaction from nearby security personnel: perhaps there is a greater gravity in directing
vehicles than there is concerning pedestrians?
EXPERIMENT 4: Change Path.
Aim: to change the path taken by pedestrians when there is more than one viable option. How does adding an authoritative figure (man in high-vis jacket) affect people's reactions to the scene? By placing a fallen cone within the scene, what physical metaphors do we create
EXPERIMENT 5: Barricade.
We limit the number of gates/turnstiles people can use. People assume the gate is broken. People want to use a turnstile quickly: the barricade becomes a nuisance. We were out of sight: how does this affect how people react to the configuration of cones? ...when they are not
being watched? Once the first person ignores/disobeys, others follow. When the cones are knocked over, they possess less authority. People can discuss the purpose of the cones within this particular environment: perhaps this encourages them to experiment with
Social Space: How do people interact with it? Icon of control, emblem of authority. Subliminal emblem/icon - it is rarely considered an object in its own right. Therefore, the three ways people socially interact with a cone, are:
1. Obey: Follow the directions laid out by the cone.
2. Disobey: Knock it over.
3. Ignore: Don't acknowledge the presence of the cone (but subconsciously obey its authority?)
Physical Space: Where do you find it? How does it fit into its space? Space validates its worth; space gives it a USE/PURPOSE. It moulds/delineates/dictates its physical surroundings. It and its space are symbiotic: they rely on and feed each other. Cognitive Space:
'Thinking' spaces; Cognitive effects of its physical presence.
Its shape; conical; A sharp shape, pointed, suggestive of potential danger?
Its colour; bright, (usually orange), highly visible. Captures vision... but is still something that remains in our subconscious. It's obtrusive by nature - causes a cognitive disturbance/unease. Creates divisions. (Anxiety-inducing.) Has immediate connotations of danger.
1/ FIXED SPACE. NON-LOCATION SPECIFIC. We think [they] already explored the use of different environments. We would like to explore the use of objects in space, rather than objects in location.
2/ COLLECTED/DONATED items from the community. Addresses the community aspect of pocket parks. (Asked everyone to donate one item to the square. Items are personal to people, each item possesses great personality.) [Therefore] shows how diverse
objects/people can be bought together in a [positive] way.
3/ + 4/ THE SPACE AS A [WOMB]. Demonstrating comfort in a small space. Maximising use of a small space. Jigsaw puzzle. (Time to [relax] & [reflect].) Boris says: 'They might provide a place to sit and watch the crowds go by, or to enjoy an oasis of greenery... or a
place to stop and chat...' Made for the comfort of the community and the individual. Holistic. (Emphasizing the importance of the whole and the interdependence of its parts.)
5/ + 6/ BOOK SWAP. Directly compares to [their] raw idea within the toolset, i.e. when [they] placed a metre-square over a pre-existing book sale.
We aimed to refine this raw idea. (We emphasise the act of sharing.) We recontextualise the act in a non-commercial environment.
Thus, this is not an exchange of
books ~ money
but an exchange of
books ~ books
[raw] knowledge ~ knowledge.
7/ + 8/ Directly compares to [their] 'draw on me.'
The space is open to illimitable creativity. It is shaped by its users. (The space's core purpose is to allow creativity to flow freely.) Boris says: 'They will turn spaces into places.' The use of newspaper as a ground = the past [history] and [political, cultural and social
entanglement] of the space.
9/ + 10/ Consider: Dalston Eastern Curve Garden (DECG).
DECG was the forerunner for all pocket parks.
DECG was previously a dump before being converted into a pocket park. Objects found in the dump were even given a 'new lease of life' by being 'upcycled' into furniture, etc. (???)