Process artIn the mid-20th century, the art world completely changed to embrace a new way of expressing ideas. Many artists began to research different ideas and styles. It began in the 1960s and 1970s, as many artists attempted to free art from art markets – a system in which works of art become commodities to be bought and sold or held as an investment financial (Lucie-Smith 220). They wanted to create art that would be too ephemeral to sell. For them, the beauty of their work lies in its process. This includes earthworks artists Robert Smithson, Michael Heizer, Walter De Maria, and Nancy Holt, who were not only interested in the process of making it, but also intrigued by how the forces of nature could be incorporated into a work of art. As technology advances; these artists chose to move their work outside. Instead of paintbrushes or pencils, “they used bulldozers and other machines to transform the earth into giant sculptural forms” (). They believed that everything in this world was part of a process. According to philosopher Alfred North Whitehead, every object in real life can be understood as a series of similarly constructed events and processes (Donald, 852). They began to understand the importance of the forces of nature and the process of their work. Earthwork artists were developed in many ways, such as idea of ​​treatment and social influences, subject matter and style. These artists were influenced by the idea of ​​process, when Whitehead introduced the notion of real occasion. According to him, a real opportunity is not a lasting substance, but a process of becoming (Donald 852). This influenced process thinking and the idea that sometimes things that fall apart are much more interesting than how they are built. As we see in Smithson's work, Spiral Jetty (1970), which forms a giant coil of earth, rock, and salt crystals extending outward from the shore of the Great Salt Lake in Utah . It left it vulnerable to the natural forces of rain, wind and erosion. For him, the time of his work is so important that it constitutes one of his most important mediums (Flam XIX). It also evokes the notion of entropy. In nature, green plants use light energy from the sun to make carbohydrates for their own needs. Most of this energy is processed and dissipated as heat during respiration. After that, it converts the remaining energy into biomass, wood... middle of paper... in the canyons. You can't tell the difference between these changes when you look at them, but a stone from there can tell you a lot more, because it shows the process. Of course, a scientist can detect changes at a site, but stones are easier to observe. For us, an abstract way of thinking about this stone is much deeper than the site. The idea of ​​an entire site tends to evaporate. “The closer you think you get to it, the more you circumscribe it” (245). The site is a place where this stone should be but isn't, now the stone is elsewhere, where it can't evaporate as quickly. Now the stone is being taken back off site, where it could be a piece. Its regular process “will take place outside the room. But the play reminds us of the limits of our condition” (245). So we understand what it is. Work cited Donald W. Sherburne, "Whitehead, Alfred North", in The Cambridge Dictionary of Philosophy, Robert Audi (ed.), Cambridge: Cambridge University Press, 1995. Flam, Jack, ed. . Robert Smithson.