syn·site

sin.sīt
noun, verb

in contemporary art terms: a "syn-site" is a conceptual space that encapsulates a multitude of experiences, observations, and interactions across various physical and digital locales. It is a dynamic, non-singular site that challenges conventional notions of place and situates itself within the discourse of network aesthetics. Drawing upon the theories of Robert Smithson, it re-works the concept of "site" to reflect the complexity and plurality of contemporary life and artistic practice. It is an artwork and a network, a space and a memory, an assertive threshold within the syntax of site. It is both a product and a critique of the interconnected, networked nature of the contemporary world, and serves as a tool for artists to explore the entanglements of the specific and the abstract, the internal and external, the actual and the virtual.

in contemporary art terms: a "syn-site" is a conceptual space that encapsulates a multitude of experiences, observations, and interactions across various physical and digital locales. It is a dynamic, non-singular site that challenges conventional notions of place and situates itself within the discourse of network aesthetics. Drawing upon the theories of Robert Smithson, it re-works the concept of "site" to reflect the complexity and plurality of contemporary life and artistic practice. It is an artwork and a network, a space and a memory, an assertive threshold within the syntax of site. It is both a product and a critique of the interconnected, networked nature of the contemporary world, and serves as a tool for artists to explore the entanglements of the specific and the abstract, the internal and external, the actual and the virtual.

SYN (along with, at the same time | from Greek SYN, with | ~SYNTHETIC) + SITE (N: point of event, occupied space, internet address; V: to place in position | from Latin SITUS, location, idleness, forgetfulness | ~WEBSITE ¬cite ¬sight), cf. SITE/NON-SITE (from Robert Smithson, A PROVISIONAL THEORY OF NONSITES, 1968)

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