ABSTRACT

Instead of being the product of social sense-making, I argue that borders are “vital assemblages,” acting on and in the world. Analyzing the virtual documentation and response to two border art installations, Kikito and the Giant Picnic, I theorize that the border is in a constant state of being made and remade through the emerging, ongoing, and dynamic relationships between people, language, and physical space. I suggest that these installations present visitors with an opportunity to become something different in and through their interactions, expanding consideration for the border's epistemology, ontology, and our critical engagement with it.

摘要

我认为边界不是社会意义形成的产物，而是边界，是在世界上以及在世界上起作用的“重要组合”。通过分析虚拟文档以及对两个边界艺术装置（Kikito和Giant Picnic）的反应，我得出结论，通过人，语言和物理空间之间不断出现的，持续的和动态的关系，边界处于不断制作和重新制作的状态。我建议这些装置为游客提供机会，使其在互动中和与众不同，从而扩大了对边界认识论，本体论以及我们与边界的紧密接触的考虑。