icked a work area where he had often traveled. He began to examine area and interesting point he liked. He often looks for a denaturalization rather than built up scenic beauty(242). When we take a trip, we always need some information, such as a map of that place. He was influenced by that. He took the idea of mapping, and used it in his artwork. The first non-site that he did was at the Pine, Barrens in southern New Jersey (244). There was a hexagon airfield, which was similar to a shape of a crystal. The shape led him to mapmaking. At first, he was going over there to set up a system of outdoors pavements but in the process he became interested in the abstract aspects of mapping. He used that area as a piece of paper and drew the shape over the landmass. He applied his idea directly to the disruption of the site (244), so that a non-site was a three-dimensional map of the site. To him a central focus point of a site is the non-site; the site is the unfocused fringe where your mind loses its boundaries and a sense of the oceanic pervades, as it were. The site usually throws you out to the fringes so that you are not able to focus on a particular place. The idea is that you might get lost in a site, but the map can take you somewhere. Until you get there you won't really know where you are, but with non-sites help, it lets you understand more about the site. The non-site is the center of the system, and the site itself is the edge. Just like when you look at a map, it can tell everything about that area, but if you were there you are kind of lost in that space. Smithson used an example of Mono Lake. There, many historical events that changed the landscape a million years ago. Therefore, it created many canyons. You cannot tell the difference of these changes when you look at it, but a stone from there can tell you a lot more, because it show the process. Of course a scientist can tell the changes in a site, but a stones are easier. To ...
