example+&+practice

Please edit your impressions, perceptions, questions, feelings, thinkings, etc. of the exambles and the related **evolving discourse** at the end if the page.
 * Evolving discourse about the practices, strategies and perceptions of artists expressing themselves by organisational processes**

__ **1. THE ACCELERATOR** __ //(Jürgen Bergmann, transico)// // (Oak, construction steel, bricks, plummet, signal tape, Perspex panels, aluminium-spacers) // After years of preliminary exchange, we finally developed this object for one of the leading and most rapidly growing European companies in the field of construction project management. The impact of the corporate values on the company’s operational growth is exceedingly significant. Concurrently, the important growth challenges the transmission of the relevance of these values to the likewise growing, newly hired, and highly qualified staff.

Actually, the object monitors, as part of the artistic process, the internal transmission of the corporate values. As long as the object has any value or use for this organisational process, the process will achieve the final material form of the object by accelerating the transmission of the corporate values. Only afterwards does it become an art spin-off. At least until this time, it remains on loan at the company.

The following instructions for use, integrated in internal organisational processes, describe the handling, the function, and the symbolic meaning of the Accelerator. To formulate, discuss, and clarify these instructions for use, workshops for all employees were organised. Essential for the success of the artistic or organisational process is not the object as such in its material presence, but the compliance with and the execution of the instructions for use.

** Instructions for use **// (translation of excerpts of the original document) //

The three layers of the oaken plywood represent Exchange, Openness, and Appreciation (EOA). Vertically anchored in that block, the construction steel symbolises the main principle of the company’s philosophy: EOA is profit-oriented because of the maxim that trust is more profitable than control. Symbolising growth, including new staff, the bricks can move along the steel, which fortifies their orientation and identity within the overall construction. The plummet between the bricks, aligned to the vertical of the steel, cannot move freely. It stands for the commitment (obligation) to sincere communication. “What’s that?” If EOA following that question empowers new employees, customers, or guests to transmit on their own the significance of the Accelerator, according to these instructions, they add, as proof, a new piece of signal tape between plummet and brick. Responsibility for EOA is constitutive for the health of the company. In any critical situation generating a lack of communication and affecting EOA, the Accelerator and its artistic discourse offer various and playful opportunities to bypass destructive conflicts. For example: - A bouquet of flowers with a signal tape bow - An invitation written on signal tape - A special gift wrapped in signal tape The conflicting parties likewise clamp these pieces of signal tape between plummet and brick as a sign of mutual appreciation visible to all. The communication of the Accelerator’s significance, manifesting EOA, achieves its intention. Not arbitrarily, but as a guarantee everybody can point to when, for example, reproaches are not openly expressed. Articulating the invulnerability, inviolability, and transparency of the principle between them, the two Perspex panels are therefore an inseparable component of the overall conception In this sense, the Accelerator represents a tangible symbol of the philosophy of the company with respect to the desired cooperation and togetherness. ** Neutral contribution ** To ensure the aesthetic meaning, a neutral art historian (Silke Neumann) not knowing anything of the context and the background of the project analysed the object. Her analysis, made available to all employees, confirmed the functional discourse. This emphasised the identification with the project, because it pointed out an artistic meaning of the Accelerator rooted in a context beyond the company. The motivation to actively take part in the art project increased, and thereby the discussion, and internalisation of the corporate values. Excerpts of the analysis “The composition appears almost playful, with the motionless signal tape, but also timeless, due to the slack way in which the tape hangs down smoothly. The tape underlines the building site connection of the object, but at the same time seems helpless and useless because there is nothing supposedly dangerous from which to be protected. All four elements: the wood, the steel, the bricks, and the plummet, are in contact with each other, put pressure on each other, or ‘communicate’. In this way, they adopt a social component. All four elements, which are building materials, seem to be alienated from their purpose, removed from their real purpose and function. However, their combination achieves a new function in the way that they interact with each other. The object doesn’t seem to be completely finished, but at an intermediate stage which will change.”


 * Evolving discourse**

Clive Holtham, Dec 7, 2:46 am (UK) I get the feeling the two bricks are crushing the metal container. The red and white plastic tape is a warning to other people about their own fate if they break the rules like the metal container. Encasing it in plastic means we can see it but are discouraged from touching it, but we can touch it a bit.

Jürgen Bergmann, Dec 7, 10:18 am (Germany) The organic component is a piece of oak glued in three crossed coats as plywood (45cm x 15cm x 9cm). In this wooden block is drilled a hole of 21mm diameter and 7cm deep, exactly in the middle of the wide and at two-thirds of the length of the block. A construction steel (BSt500 20/22, length 45 cm ) is rammed into this whole. Parallel to the length of the wooden block are plugged on that steel two bricks (22,5cm x 11,25cm x 7cm) with 17 holes (used normally for the construction of walls behind fireplaces to make circulate the warmed air within the wall). The bricks can be moved along the steel. Between the two bricks is wedged a plummet in that way that it's vertical is exactly accorded to the line of the steel. (The cord of the plummet is transformed into a lash, which is not directly related to the object.) A piece of red and white signal tape (of about 1m) is tucked by the plummet in the centered hole in the brick, so that the ends of the tape hang rectangularly over in the block. This construction is embedded into two Perspex sheets (50cm x50cm), which are fixed in parallel behind and in front on the block with two 5cm long spacers underneath and with two 25cm long spacers upside. The four holes in the Perspex sheets are exactly on the two diagonals. The whole construction is directly fixed to the wall in a distance of 2,5 cm by four drop rods (35 cm long) which fixes also the Perspex sheets on the block. All forces keeping together the construction are excerted by the four countersunk-head colletnuts. The construction is open on the four sides. The red and white signal tape is an audited voucher or the waste of the communication process of internal values. Other pieces of tape will be disposed by and by under the plummet by the members of the company.