even*cleveland: displacements

displacements

I'm using a mirror because the mirror in a sense is both the physical mirror and the reflection: the mirror as a concept and abstraction; then the mirror as a fact within the mirror of the concept. So that's a departure from the other kind of contained, scattering idea. But still the bi-polar unity between the two places is kept. Here the site/non-site becomes encompassed by mirror as a concept- mirroring, the mirror being a dialectic.

The mirror is a displacement, as an abstraction absorbing, reflecting the site in a very physical way. It's an addition to the site. But I don't leave the mirrors there. I pick them up. It's slightly different from the site/non-site thing. Still in my mind it hasn't completely disclosed itself. There's still an implicit aspect to it. It's another level of process that I'm exploring. A different method of containment.

From Selected Interviews with Robert Smithson: 'Fragments of a Conversation,' edited by William C. Lipke.

1 - 3: Details from Yucatan Mirror Displacements (1–9), 1969. Nine chromogenic-development slides.
4: Mirror Displacement. Chilsea Beach, Portland Island, England, 1969.
5: Mirror Displacement (Vertical On Rocky Bank). England, September 1969.
6: Mirror Displacement (Grassy Slope). England, September 1969.
7: Mirror Displacement (Brambles). England, September 1969.
8: Mirror Displacement on Compost Heap. Dusseldorf, Germany, October 1969.

What sort of diary should I like mine to be? Something loose-knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful, that comes into my mind. I should like it to resemble some deep old desk or capacious hold-all, in which one flings a mass of odds and ends without looking them through. I should like to come back, after a year or two, and find that the collection had sorted itself and refined itself and coalesced, as such deposits so mysteriously do, into a mould, transparent enough to reflect the light of our life, and yet steady, tranquil compounds with the aloofness of a work of art. The main requisite, I think, on reading my old volumes, is not to play the part of a censor, but to write as the mood comes or of anything whatever; since I was curious to find how I went for things put in haphazard, and found the significance to lie where I never saw it at the time.

V. Woolf

Don't be amazed if you see my eyes always wandering. In fact, this is my way of reading, and it is only in this way that reading proves fruitful for me. If a book truly interests me, I cannot follow it for more than a few lines before my mind, having seized on a thought that the text suggests to it, or a feeling, or a question, or an image, goes off on a tangent and springs from thought to thought, from image to image, in an itinerary of reasonings and fantasies that I feel the need to pursue to the end, moving away from the book until I have lost sight of it. The stimulus of reading is indispensable to me, and of meaty reading, even if, of every book, I manage to read no more than a few pages. But those few pages already enclose for me whole universes, which I can never exhaust.

Italo Calvino

Why didn't she try collecting something? It didn't matter what. She would find it gave an interest to life, and there was no end to the little curiosities one could easily pick up.

Henry James

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