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The place should become the space of fundamental experience. According to Ernst Mach, the universe should be mysteriously present in every place and at every moment in the world. The object - or the fragmentary space - is defined by a spatial measuring point with the coordinates of the event. This spatial measuring point or marker promotes the discourse between the here and the there, between the I and the unknown.

The object seems to be without reference - except for the fact of the coordinates 16.148804 / 46.944477. The viewer could experience a kind of transcendental homelessness or feel the disenchantment of the world when looking at it. The connecting and seemingly remote element of the space, precisely this spatial measuring point, also does not seem to be affected by the transience of nature (note: according to Friedrich Nietzsche, people have killed the connecting, meaningful firmament of nature that had long protected us from the transience of nature). Our heterogeneous, polyvalent world, in which turbodynamic processes disenchant everything, is seemingly relativized by the mere existence of the spatial measuring point. At first glance, the object renounces all references - except for the existence of the spatial world coordinates. It could be excluded from all ordering systems and thus become legible for every culture. The spatial measuring point manifests the proof of the genetics of space. If this fragmentary space is perceived with all senses, including the archaic desire to understand space, the visual events will reveal deeper conclusions to the viewer. The relativistic turn will occur, according to which each viewer sees what he wants.

The potential of space, in Latin spatium, or the open land like the universe, is used to achieve a new experience. In context, the spatial measuring point only exists through the event.

The replacement of semantics with syntactics now offers the viewer the opportunity to interpret the trilateral sign. The relationship to the element, to the sign user and to other signs is opened up. The fragmentary element will create contradictions in the viewer, aesthetic puzzles will arise. Immanuel Kant claims that one gets bored when one can fully grasp something. According to Kant, once one has understood something, one does not engage with it any further!

The viewer will try to get closer to the object. The spatial measuring point will initially slow him down, stop him, and in the process overcome his metaphysical homelessness in the frenzied standstill. He will interpret the attributions of the object as contradictions in advance, reorient his observation and only later recognize references that have supposedly disappeared.

The order found - or the fragmentary, inductive space - will then be perceived as extraordinary because the viewer spatially conquers the traditional viewing habits and concepts of the places of memory. Complexity and contradiction are created through the experience of the spatial measuring point - the missing link to the firmament, a kind of wholeness. The need for an argument of truth or the transport of a rhetorical truth of a work of art, as is often expressed in memorials or monuments, cannot, with a few exceptions, do justice to what people consider important in their lives and is deliberately excluded in this object.

The spatial measuring point, a kinesthetic space, is a system of possible places as a reference point, similar to the origin of geometry or number. This original world, which is based on kinesthetic immobility, is a world firmly aligned around a physical body or the zero point that is based in it. The object symbolizes an absolute zero point of movement. Movement and states of rest only gain meaning in relation to one another (Edmund Husserl).

So if there ever was a genius loci, the spirit of the place would certainly have been removed. The spatial element of the measuring point deciphers the poetry of the invisible, the infinitely unpredictable events of the world (a kind of atomization of reality). After the viewer has immersed himself in the place, he will recognize a brass object - looking like a feather or blade - to the east of the spatial measuring point on the underside of the horizontal axis. The plasticity of this feather is modeled from the fragment of a multi-edged blade - similar to a kêlāf - as well as the loft body of a skull bone and the spatial algorithms of the numbers 10-5-6-5 (10+5), the mirrored tetragram הוהי 'I am'.

One could also recognize in the appearance of the spatial measuring point a scale that weighs the heavy hearts of the deceased against the feather-light pure

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