Opportunities for Outdoor Play?

Appendix B: Open-Field Paradigm

Opportunities for Outdoor Play? Playgrounds New Spaces of Liberty (The Question of Form)
Kunsthof, Zurich, 2013 A project curated by Dimitrina Sevova in cooperation with Prof. Elke Bippus, Franziska Koch and the department Vertiefung Bildende Kunst of the Zurich University of the Arts

Appendix B: The Open-Field Paradigm

Text and research: Dimitrina Sevova

Contents The Field in Science 2 Practice and Theory in the Open Field 2 Eadward Muybridge: Measuring Motion as a Prototype of the Open-Field Arena 4 The Open-Field Arena and the White Cube 6 Pro and Contra the White Cube A Historical Outline 8 A Dystopian Space of Surveillance as a Critique of the White Cube and the Viewers Place
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Black Box White Cube, Outside Inside, and the perceptual shock effect like in cinema (what is important is what is not shown, but produced by the unconscious between the black and the white screen) 9
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The Field in Science

Bourdieu uses the concept of field: a structured social space with its own rules, schemes of domination, legitimate opinions and so on. Fields are relatively autonomous from the wider social structure (or space, in his terminology), in which people relate and struggle through a complex of connected social relations (both direct and indirect) [] In this way Bourdieu theorizes the inculcation of objective social structures into the subjective, mental experience of agents.1 The formal epistemological model was developed to investigate the principle of visibility and of the appearance of forms. In science observation and critical selfreflection are the basis for the autonomy of the field. Let us see how an open-field arena is structured in science, how from its formal structure the form appears and how its space is produced as an ideal display for observation. The categories of appearance, play and work according to Rancire are the proper categories of the distribution of the sensible. What they in fact describe are the forms of domination and of equality operative within the very tissue of ordinary sensory experience.2 The project critically interrogates the forms of surveillance, the forms of observation, and in this context is interested in understanding how these principles work in the so-called open-field apparatus, a very elementary apparatus but at the same time the ABC of how these mechanisms work. It consists of an inner circular field surrounded by an outer rectangular field, a marked space with a specific function, namely to collect data. The procedure for conducting open-field tests involves the notion of observation through survey technology. The open-field paradigm, in a speculative way that the freedom of art allows, can serve here as a micro model for how a field is created with relation to the social fabric, which is built as an assemblage of related fields. The project
1 Pierre Bourdieu, Wikipedia, section on Field and Habitus <http://en.wikipedia.org/ wiki/Pierre_Bourdieu#Field_and_Habitus> (accessed 2013-02-23). 2 Jacques Rancire, Aesthetics and Its Discontents, trans. Steven Corcoran, Polity Press, 2009, p.31.

aims to research the methodology and analytical possibilities of observation and surveillance of aesthetic objects with respect to play and game, and the marking principles of the scientific system and strategic management. The open field is a territory with well-defined borders and precise parameters, spatially marked by limits and distinctions, in which an infinite number of combinations between identified components can play out. With this concept we would like to look at spatializing disciplines which are among the main features of the cognitive economy, of knowledge economy, of evolutionary biology and brain and behavior experiments.

Practice and Theory in the Open Field

The project strives to link practice and theory, which can meet in the open field, the field of vision, the field of reflection and the field of participation. It underlines the importance of visibility for knowledge and aesthetics. All symptoms inherent to objects and subjects and their interaction with invisible power, appear in the landscape of the visible in the field thus constructed, where the theatricality of knowledge and the viewing apparatuses (eyes, magnifying glass, lenses, etc.) are instruments for cognition, but the same apparatuses can also be used for sensation and shock. In contrast to the open-field apparatuses with their rigid limitations, the open field in Rancires understanding
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Opportunities for Outdoor Play? Appendix B: Open-Field Paradigm

is the mediated space, which he calls a space in-between, a space of knowledge and aesthetic sensualism which refuses to acknowledge fixed boundaries between practice and theory, history, the political, aesthetics, art. This middle ground is capable of overcoming the binary opposition between the object of analysis (what Bourdieu calls disposition) between the objective (the field) and the subjective (habitus). Coming from epistemological realism, the open-field paradigm makes its appearance as a system of logic and geometrical knowledge, bringing together observation techniques that allow approaching together theoretical knowledge and practical knowledge, directly applying perceptions and the materialism locked in the appearance of the form in this field. The importance of observation for the system of knowledge and theory is evident in the way in which millennia of observing the stars in the sky led to the Copernican revolution in the field of science, where the gaze turned from the Earth as the center to the sun. This is a rupture of similar might to that of the appearance of speech. In the context of the project it is interesting to investigate what it means to create a pure scientific space or achieve a controlled environment for research purposes, a field of experiment or adapting field. The methods of production of the field are similar to those of the White Cube in art, or public space with its urban architectural structures, or the scanning field of satellites or surveillance cameras, or any other space marked with the aim of catching the symptoms of what happens within it. They operate by observation and limiting space, by marking, making distinctions and identifying objects. In the logic of space, the field of observation thus created overlaps with the scientific field of logic, i.e., a space of reflection with its specific spatio-temporal characteristics produced by technological apparatuses and systems for limiting it.

Diagram mapping evolutionary stages in the development of a field of science and showing the interdependency between practice/observation and theory/reflection in the field of science. In the course of scientific development, classifications defined by reference to manifest, observable characteristics will tend to give way to systems based on theoretical concepts.3

Psychologists theorize that in a universe of limitless numbers of objects and ideas, classifying things into groups is one of the brains mechanisms for creating order out of chaos. The classification phase usually occurs during the early stages of development of a scientific field as a means of ordering observations and descriptions. As a science advances, classification gives way to the development of empirically based laws and finally to theoretical understanding (figure above).4

3 C.G. Hempel, Aspects of scientic explanation, New York, Free Press, 1965, p.148. 4 CraigN. Goodwin, Improving Future Fluvial Classification Systems, Stream Notes, USDA Forest Service: Stream Systems Technology Center, 1999 <http://stream.fs.fed.us/news/ streamnt/oct99/oct99a1.htm> (accessed 201302-23).

Opportunities for Outdoor Play? Appendix B: Open-Field Paradigm

Figure 1: Open-field apparatus5

Figure 2: Phenakistoscope or Fantascope card disk.6

5 1: Phenakistoscope Open-field apparatus Figure 2: or Fantascope card disk.6

Eadward Muybridge: Measuring Motion as a Prototype of the OpenField Arena

Looking at Figure 1 and Figure 2, both images show an apparatus for exhibiting animal locomotion and its basic function, not only to display movement in perfect seriality but also to allow its precise measurement. Figure 1 consists of a schematic drawing of an open-field arena of study for examining the effects of diazepam (a widely used anxiolytic, i.e., fear-inducing benzodiazepine) on the behavioral response of pigs. The open-field arena with its circular shape is used in contemporary science as a pure and limited artificial space to initially exhibit and measure an elevated level of activity of animals. It is used mainly to research the realm of the brain and behavior through observation in laboratory conditions of the effect of drugs, toxic materials, hormones and genetic engineering.

5 Inger Lise Andersen, Gry Frevik, Knut Egil Be, Andrew M. Janczak, Morten Bakken, Effects of diazepam on the behaviour of weaned pigs in three putative models of anxiety, Applied Animal Behaviour Science, Vol.68, Issue2 , pp.121-130, 10 May 2000 <http:// www.sciencedirect.com/science/article/pii/ S0168159100000988> (accessed 2013-02-23). 6 V&A Museum of Childhood Bethnal Green, London, England, UK. Photo: Leo Reynolds <http://www.flickr.com/photos/49968232@ N00/7444716150> (accessed 2013-02-23).

Figure 2 shows an early device for displaying motion, by the pioneer researcher of animal and human locomotion and creator of this apparatus Eadweard Muybridge. The Science of Animal Locomotion (Zoopraxography) by Eadweard Muybridge dates from before 1890. Muybridges experiments focus on the study of movement, motion pictures of industrial and scientific photography, and motion picture projection and diagrams. He meanders at the boundary of the aesthetics of photography as art and through the prism of a rigorous scientific interest that he himself limits in his method in order to derive a specific aesthetic which allows him to be as precise as possible in the measurement of motion. He shows not only a practical but also a theoretical interest in recording motion, as well as in perfecting photographic technology. He thus provides a double impetus to the development of apparatuses for recording and measuring motion, and leaves his mark on its aesthetic codes and the parameters of its representation. The work and photographic legacy of Muybridge have strongly influenced both the field of visual arts and the idea of what the image and diagram of motion is supposed to be in contemporary science. At the same time he caused a great leap in the history of moving images and the entertainment industry, as well as contemporary anthropology and evolutionary biology. Muybridge himself throughout his career meandered on a trajectory between scientific experiment with its inherent purification and restricted and limited boundaries and his
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open interest in the theater of knowledge and the celebration of scientific advances. Through his photo travels he contributed very consciously to the beginnings of the entertainment industry and the production of myths regarding US-American history and the construction of notions such as the Wild West with his iconic images shot in nature under a wellcalculated camera angle to underline the grandiosity of the wilderness, inspired by his friendship with such mystifiers and organizers of great spectacles as Buffalo Bill, prone to cover up the colonial truth of North America. In other words, one of the most decisive advances in the history of moving images constitutes at the same time a conscious contribution in the realm of entertainment industry as it constructs the field for the study of motion in contemporary science and the idea of display in this field. In the case of Figure 2, Muybridge used live rats in order to create not only a real cinematographic motion, but by placing his apparatus on the floor of the conference hall also a forceful spectacular effect in the sudden realization of the animated motion in front of the eyes of the viewers as he opened and holes of the box and the left the rats to disperse freely in the hall between their legs.7
7 On the 8th December 1890 some residents of Gloucester received a more realistic experience of animals in motion than perhaps they were expecting, as the Gloucester Citizen reported the next day: GLOUCESTER LITERARY AND SCIENTIFIC ASSOCIATION. [last evening] the Corn Exchange was crowded, the attraction being a lecture by Mr. Eadweard Muybridge on The Science of Animal Locomotion in its Relation to Design in Art. [] One other word. The corporation ought really to keep their rats in better order than to allow them to career about the Corn Exchange on public occasions. The appearance of these rodents (whom a long succession of corn markets seems to have rendered enterprising to a most impudent and unpleasant degree) upon the screen last night would have been appropriate, and they might have served a useful purpose as illustrations of Mr. Muybridges points; but their practical demonstrations on the floor of the laws of animal locomotion whatever relation it may have borne to their design and art not only proved somewhat terrifying to ladies in the audience, but distracted attention from the lecturer and his subject. In the zoopraxiscope they would have been tolerable, even amusing and instructive; dodging among chair and other

With this trick he achieved a boost in the effect of his show-lecture, overlaying the otherwise quite cold, rigorous and ascetic aesthetic of projected moving figures of people and animals with the dramatic live performance of rats causing havoc and fear among ladies in the audience. He calls his traveling show for a mass audience as well as specialists in science and the arts, The Science of Animal Locomotion in its Relation to Design in Art.8

legs they constituted a nuisance and a cause of legitimate complaint. ejmuybridge, Rats! Muy blog entry of 4 January 2012, <http://ejmuybridge.wordpress.com/2012/01/04/rats/> (accessed 2013-02-18). 8 In 1882, during a lecture on The Science of Animal Locomotion in its relation to Design in Art, given at the Royal Institution (see Proceedings of the Royal Institution of Great Britain, March 13, 1882), he exhibited the results of some of his experiments made during a few antecedent years at Palo Alto, California; when he, with the zoopraxiscope and an oxy-hydrogen lantern, projected on the wall a synthesis of many of the actions he had analysed. Eadweard Muybridge, The Science of Animal Locomotion (Zoopraxography): An Electro-Photographic Investigation of Consecutive Phases of Animal Movements, Philadelphia, 1885, p.4. <http:// www.gutenberg.org/files/39998/39998h/39998-h.htm> (accessed 2013-02-17).

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Open field circular arena in contemporary science, freely available for sale on the Internet together with the required software for the observation and recording program.9

The Open-Field Arena and the White Cube

The open field is a generally accepted and straight-forward test to investigate anxiety-related and exploratory behavior of rodents. The open field is an empty test arena, usually round or square, in which the animals activity is measured. The amount of time spent close to the wall (an anxiety-like response referred to as thigmotaxis) versus the amount of time spent in, and frequencies of visits to, the inner zone are measured. Additionally, general locomotor behavior (total distance moved) 11 is often taken into account. This service can measure the level of locomotor activity of the tested mice and their patterns of movement when the subjects are placed in a slightly large and open space that may cause anxiety and fear. Open field study is an easy way to gauge the ability of habituation of mice in a new environment. This test can be done repeatedly without interfering with other behavioral study and is applicable to study the locomotion and anxiety levels of mice before and after compound adminis12 tration.

Square, seamless open field arena for mice with video tracking system.10
Figure 3.9 Figure 4.10

9 The open field test is a generally accepted paradigm for measurement of explorative and locomotor behavior in animals. It allows the responses to new and unfamiliar environments as well as habituation to the environment to be evaluated. Rats and mice tend to avoid brightly illuminated open spaces, so the open field environment acts as an anxiogenic stimulus and allows the measurement of anxiety-induced behaviors. <http://www.openscience.ru/index. php?item=001&lang=en&page=ts> (accessed 2013-02-23). 10 Koide T, Takahashi A, Temporal recording of open field behavior in 12 inbred strains of mice, mostly wild-derived (Mishima) strains, Mouse Phenome Database (MPD), 2006 <http://phenome.jax.org/db/q?rtn=projects/ docstatic&doc=Koide3/Koide3_Protocol> (accessed 2013-02-24). Photos: OHARA & CO.,LTD.

11 Noldus Information Technology, Open Field <http://www.noldus.com/animal-behavior-research/solutions/research-small-lab-animals/open-field-set> (accessed 2013-02-24). 12 Taiwan Mouse Clinic (National Phenotyping and Drug Testing Center), Open-Field <http://

Opportunities for Outdoor Play? Appendix B: Open-Field Paradigm

In Bourdieus theoretical/practical project the scientific field is precisely that field in which objectivity may be acquired. The structure of the scientific field is such that it becomes increasingly autonomous and its entrance fee becomes increasingly strict. Further, the scientific field entails rigorous intersubjective scrutinizing of theory and data. This makes it difficult for those within the field to bring in, for example, political 13 influence. In contrast to the field of science, the autonomy of the field of art is exactly to bring in political influence and social engagement, and mediate between them and the social bond. What is the relation between the practice of display, theatrical practices and performativity? Without doubt, theater is a much older form in the field of the visual, which develops a geometry of observing by strictly calculating the place of things on the scene as they will be observed by the audience, and choreographs the movements of the actors accordingly. In the figurativeness of knowledge, speech links in with the visual to create meaning. The choreography of the actors is combined with the choreography of the spectators gaze so that certainly, theatre and cinema are 14 direct expressions of geometry. The White Cube is an artificial construction isolated from reality, a pure space in which the symptoms start to become visible, so that comparisons can be made, along with a diagnosis and instructions for therapy. It offers full control over the experience and behavior of the public, favoring a sort of clinical gaze that participates in the distribution of power, a 15 mute gaze without gesture. The white cube also had a way of affecting you: it 16 looked cold, it looked sort of scientific.
tmc.sinica.edu.tw/field.html> (accessed 201302-24). 13 Pierre Bourdieu, Wikipedia, section on Science and Objectivity <http://en.wikipedia. org/wiki/Pierre_Bourdieu#Science_and_objectivity> (accessed 2013-02-24). 14 Roland Barthes, Diderot, Brecht, Eisenstein (for Andr Tchin), in: id., Image Music Text, 1977, p.70. 15 Georges Didi-Huberman, Invention of Hysteria: Charcot and the Photographic Iconography of Salptrire, trans. Alisa Hartz, MIT Press, 2003, p.23. 16 Fred Wilson, in Ivan Karp and Fred Wilson, Constructing the Spectacle of Culture in Museums, in Reesa Greenberg, Bruce W. Fergu-

ODoherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery were based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation 17 to the gallery space and system. Niklas Maak: When did white assert itself as the wall colour? Charlotte Klonk: In Germany, interestingly, this takes place during the Nazi period in the 1930s. In England and France white only becomes a dominant wall colour in museums after the Second World War, so one is almost tempted to speak of the white cube as a Nazi invention. At the same time, the Nazis also mobilised the traditional connotation of white as a colour of purity, but this played no role when the flexible white exhibition container became the default mode for displaying art in the mu18 seum.

Exhibition co-ordinator Hartmut Pistauer leads Nazi party officials through the Degenerate Art Exhibition at the Kunst Palast in Dsseldorf 1938.19

son, Sandy Nairne (eds.), Thinking about Exhibitions, Routledge, 1996, p.181. 17 Book description for Brian ODoherty, Inside the White Cube: The Ideology of the Gallery Space (Expanded Edition), University of California Press, 1986 (1976). 18 Niklas Maak, Charlotte Klonk, Thomas Demand, The white cube and beyond: Museum display, Tate Etc. Issue 21; Spring 2011 <http://www.tate.org.uk/context-comment/ articles/white-cube-and-beyond> (accessed 2013-02-22). 19 Niklas Maak et al., op. cit. Photo: Alfres Smolarczyk, courtesy Landeshauptstadt Dsseldorf.

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Pro and Contra the White Cube A Historical Outline

Catherine David in her thesis for DocumentaX, and then in an interview on Arte television, not only criticizes the White Cube20 but also proclaims its demise: Unless you are naive, or a hypocrite, or stupid, you have to know that the white cube is over. I dont agree with authenticity, purity, or this strong ontological opposition between art and the media. For me, any intense aesthetic experience now has to do with media.21 Contrary to the claim of the curator of DocumentaX it is not the end of the White Cube or of site specificity that we are witnessing but the proliferation of forms of site specificity based on the appropriation of architectural structures, at the expense of the medium, which dissolves in intermediality. Works like Liam Gillicks Utopia Station engage directly with the architecture and support structures at hand in simultaneously performative and spatial practices, and reintroduce an interest in the object whereby it is important to note the broad understanding of the object of art, which can be the social body, language, knowledge. This marks a shift from the practices of the 1960s and 1970s which developed in the environment of the White Cube, from the comfort that everything developed in that context receives automatic legitimacy but in protest against this comfort, self-reflexively criticizing it. These involved the dematerialization
20 Alfred H. Barr is credited for being the first to adopt the white cube model in his display method for a 1929 exhibition at Momas exhibition space, even if his inspiration came from a visit to the Folkwang Museum in Essen, Germany, two years earlier. Eight years later, the National Socialist Groe Deutsche Kunstausstellung (Great German Art Exhibition) opened in the newly built Haus der Kunst in Berlin with a similar aesthetic. After the war it began to impose itself broadly as the conventional way of exhibiting art in a museum context. It stands for the universalism of Western modernism, a frame for artistic production at once universal, ordered, and rational. 21 Quoted in Rosalind Krauss, The Power of the specific image, Doppiozero, transcript of a lecture given at the University of Bergamo on 30 May 2012 <http://www.doppiozero.com/materiali/saggi/power-specific-image> (accessed 2013-03-21).

of the object, as the main focus was on the subject and the technology of subjectivity, or its dissolution into the object (as in minimal art). Conceptual art in the form of immaterial gestures or site-specific installations referred to the boxed gallery setting and the constitution of spectatorship, and institutionalizing mechanisms in art. These practices critically interrogated normative viewing conditions, the relation between space and perception, mental and immaterial phenomena, the White Cube as a psychological and perceptual model. This was an invitation to the public to grasp its own position not only as an observing subject but also as an observed subject in the process of signification, which means control and self-control in the normative process of creating the subject as viewer, while the same principle also produces the object. Some of these practices brought applied behavioral science from behaviorist psychological laboratories into the no less controlled context of cube testing where mental processes, stimulus and response could be investigated, including non-behavioral factors of human development such as thinking and feelings.

A Dystopian Space of Surveillance as a Critique of the White Cube and the Viewers Place
Dan Grahams mirror installations after 1974 put to the fore the viewing conditions in the exhibition space, and called the audience to form itself the subject. Like his closed-circuit time-based video installations, which exemplify processes of signification, integrating the audience in spatial practices offering varied layers of participation and emancipation to the viewer, willfully developing the exhibition space into a dystopian space for surveillance, articulate a critique not only of the construction of the White Cube but also of the viewers place. Spectatorship must be as much part of a conscious process as the process of producing art. Who is the main actor, the things on display, the actors or the public itself? Signifying is a spatio-temporal process, with a fixed environment and its own temporality produced through the openings and closings in endless interaction between the signifier and the
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signified mediated by technology, a closedsystem model of circular communication. Subject and object make their appearance on the basis of the same principles of being caught in the game by attraction, which Foucault defines as the process of viewing from which the subject emerges in order to see and to be seen in the reflexive space from which this interaction arises. For him observation and selfreflexivity is at the basis of the system of knowledge. This is also the reason why the first chapter of The Order of Things22 starts with a description of the Meninas by Diego Velzquez, as an example of the first generation of simulacra produced through the mediation of optical devices, a mirror space, a space of subjectivity, a space of knowledge. The secret layers of this operation produce a field in which practices of exhibition making are often trapped without being aware.

ing combined with elevated plus maze test.23

Mark Rothko, Rothko Chapel (1971). Houston, Texas.

Black Box White Cube, Outside Inside, and the perceptual shock effect like in cinema (what is important is what is not shown, but produced by the unconscious between the black and the white screen)

The Chapel was commissioned in 1964 and went through many different phases of design and revision. The Chapel building itself was designed first by Phillip Johnson, and then subsequently by Howard Barnstone and Eugene Aubry. Johnson left the project because of creative differences with Rothko. The final building standing was an amalgamation of the three architects that became the perfect display space for the eight site-specific paintings Rothko created to hang on the walls. The eight paintings, including three triptychs (paintings of more than one panel) are all painted mostly in black with a variation in color and hue. They are by no means fourteen black panels. The colors deepen and fade as one moves in front of the work and no two panels are the same. Large canvases, they take up almost the entirety of the walls and imbue the space with a serenity not seen in most religious spaces. The tone of the room is meditative and tranquil and the paintings seem to at once pulse with life and be at perfect stillness.24

The light-dark box test (also known as light-dark transition test) is used to evaluate the relative anxiety status of an animal. It is based on a conflict between the rodent innate aversion to brightly illuminated areas and the spontaneous exploratory activity. This is a standard screening test for putative anxiolytic and anxyogenic compounds, often be-

23<http://www.openscience.ru/index. php?item=007&lang=en&page=ts> (accessed 2013-02-24). 24 Lydia M. Johnson, Mark Rothko, Rothko Chapel (1971), the art daily with Lydia (blog), 19 April 2010 <http://theartdaily.blogspot. ch/2010/04/mark-rothko-rothko-chapel-1971. html> (accessed 2013-02-24).

22 Michel Foucault, The Order of Things: An Archaeology of the Human Sciences, Vintage, 1994.

Opportunities for Outdoor Play? Appendix B: Open-Field Paradigm

White Cube / Black Box: Video Installation Film, exhibition at Generali Foundation, Vienna, 1996, curated by Sabine Breitwieser and Ute Meta Bauer.

Black box recorder for cars.

Figure 7: Drawing of DSCS 3-B6 military communication satellite in orbit.

Satellites mark the beginning of the Cold War. This should come as no surprise when one reflects on the massive effort poured into satellite technology since the Soviet satellite Sputnik, launched in 1957, caused panic in the U.S. A spy satellite can monitor a persons every movement, even when the target is indoors or deep in the interior of a building or traveling rapidly down the highway in a car, in any kind of weather (cloudy, rainy, stormy).25

25 John Fleming, The Shocking Menace of Satellite Surveillance, Pravda in English, 14 July 2001 <http://english.pravda.ru/ main/2001/07/14/10131.html> (no longer available).

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Figure 8: Black Box White Cube.29

Figure 8.26

Open Field ROLU Residency, 201227

Open Field takes over Walker Art Centers yard, transforming the space into a cultural commons. The project uses the idea of a gift economy to explore what happens when people come together to create, share ideas or skills and delve into the creative unknown. ROLU Studio who we interviewed a few months back have organized a series of hands on public activities utilizing this space, the activities revolving around the ideas and people that influence them.28

26 Adam Nathaniel Furman, Black Box White Cube, Textbin (blog), 10 October 2010 <http:// text-bin.blogspot.ch/2010/10/black-box-whitecube.html> (accessed 2013-02-24). 27 <http://www.walkerart.org/openfield/programs/rolu-residency/> (accessed 2013-02-26). 28 Megan Christiansen, Open Field ROLU Residency, Post-New, 22 June 2012 <http:// post-new.com/#news=node/712> (accessed 2013-02-26).

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Field layout of leaching experiment (Waimanalo).

Experimental plot design for field leaching experiment.

Chromatic discrimination: differential contributions from two adapting fields, an open-field test in the field of agriculture to measure, observe and test the side effect of chemicals.

Anthropologists and archeologists often do fieldwork.

Similar methods of work are used in anthropology to mark and occupy the terrain which is the object of the scientific research. First the field is defined, so that the bodies, things and phenomena which will appear in it are identified. It can therefore be said that this is a spatiotemporal practice related to observation and identification. Structured observation is used widely in social sciences. Work on the behavior of children and animals gave the initial push to the development of the method. Enclosures, isolation, control, the theatricality of knowledge are methods of sociology embodied by the US-American anthropologist Esther Newton in her seminal book Mother Camp: The drag queens;

a study in urban anthropology in 1972,29 which includes floor plans of night clubs as part of her field data gathering. The plans are an important part of her field data on shows at each venue, and one of the strength of her spatially oriented practices in the field of urban ethnography and anthropology is underlined by her ambition to practice a spatial analysis of the interaction among people beside each other in a room and their corporal characteristic.

29 Published in several articles and as Mother camp: female impersonators in America (1972), Esther Newtons work represented the first major anthropological study of a homosexual community in the United States and also laid some of the groundwork for theorists such as Judith Butler, who would later explore the performative dimensions of sex and gender roles. Wikipedia, Esther Newton <http://en.wikipedia.org/wiki/ Esther_Newton> (accessed 2013-02-24).

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A lek is a gathering of males for the purpose of competitive display (strutting) and mating. The same males attend a traditional place that can be active for decades. Males commonly roost overnight near the lek and, before sunrise, will move to the lek and display. This will continue for a couple of hours following sunrise, March through May. Note lek arena with 11 displaying males topography is typically wideopen and flat with escape cover (shrubs) nearby.35

Interior view of football arena, The sports complex is surrounded by open spaces, which together, form a homogenous whole. The stadium opens to the south towards Lake Geneva and spectators can enjoy a wonderful view of the panoramic Alpine landscape. Especially because visitors to the nearby park along Lake Geneva approach the sports complex via the newly created landscape bridge.30
30 Alison Furuto, Sports Complex and Urban Re-design / gmp Architekten, ArchDaily, 24 February 2012 <http://www.archdaily. com/210623/sports-complex-and-urban-re-design-gmp-architekten/> (accessed 2013-02-24).

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14