1.  An intervention, a cut into an entity is the exposition of its structure.
1.1.  The surface is the essential element of substance; every entity in nature has a surface.
1.11  Background is manifested on the surface.
1.12  The surface is the boundary between the body and its surroundings; it exists only as long as the  body exists.
1.2  Substance exists as energy.
1.21  The second law of thermodynamics: systems tend towards disorder. Towards the eradication of  boundaries.
1.22  Substance is preserved through motion.
1.3  Manifestations of substance, tiny irregularities: man, virus, planets; units of order enduring  within the disorder of the universe.
1.31  Artificial life, the combination of protein-based and silicon-based forms of life, is the next stage  in evolution. The integration of sense organs and machines brings about the change of man's  position in the world.
1.32  An event, structure, sculpture, object, electronic medium etc. creates the turning points in the  continuity of time and space.
2.  Taken in isolation, man's actions seem to introduce order into the natural chaos;  observed within the context of historical time, they are actually the destruction of the cosmos  (exploitation of forests).
2.1.  The Destruction of a Tree and Tectonic Space describe, in isolated conditions, the  transformation of natural forms into ordered (cultural) forms, of analog into digital forms. At  the same time they point to the wider issue of development and entropy.
2.11  Hergold's intervention is limited to the surface (of a meadow, snow, water, asphalt, picture), to  the visible. Active participation is required from the spectator who is expected to understand  the organization of substance, society and ideology through documented attempts.
2.12.  Tectonic Space: the artist defines the surface of the Earth, the material  boundary of the body.  Underneath are other structures: sand, stone. The thickness of the surface is visible in quarries.  The thickness varies and the artist is the one who should define it.
2.2.  Indented World talks about the issues of substance – chaos, cosmos, entropy. The artist inserts  objects, sculptures, into the heap of wooden pieces.
2.21  Transition from disorder to order, from the disordered to the ordered, eternal  motion,  entropy, the second law of thermodynamics is about the characteristics that are ascribed  to  substance by man.
2.22  Systems tend towards disorder. Order is an intermittent stage, the manifestation of disorder that  man perceives as order.
3.  Another aspect of Hergold's work is the problem of artifact or the artistic product.
3.1  By becoming the material object, the work of art acquires marketing, political and applicable  value. Its value is determined by the market, or rather by consumer society.
3.11  The artist is the producer. Between himself and the consumers is the group of mediators who  determine the value of the work. This is true only when the work of art is an object.
3.12  Duchamp introduced a new quality into the relationship between the artist (producer), the  mediator and the consumer: first it was the work of art as an  object devoid of aesthetics, then  the work of art as a non-material product.
3.13  Many followed in the wake of Duchamp's diversion from the market: conceptual art,  happening, performance, land art, installations… With the new media variants (netart, video),  the gap between the work of art and the concept has become more conspicuous.
3.2  Hergold does not simply circumvent the work of art as a product but he also sidesteps the  function. He does not contemplate the beautiful and the ugly,  indifferent, applicable and non- applicable. He has abandoned the product as the main objective of art and exposed the  process instead. By doing this he reached into other areas of social reality: economy and  religion. He moved art from the realm of strictly defined aesthetic and ethical criteria into other  spheres, thus exposing it to a different criticism and giving it new dimensions that are the  source of his joie de vivre.
4.  The intervention is recorded, the transformation from one state to the other is visible. This is  actually the transcendence of the tendencies from the sixties (of pop-art, oho): to eliminate the  demarcation line between artistic and non-artistic objects.
4.1  Documentation stresses the importance of the process through which the work of art comes  into existence.
4.2  The artist’s intervention is aestheticized: branches are cut into compatible parts. This is an  attempt to annul entropy.
4. 21  Hergold interferes with the natural process by stopping it at some stage, correcting it, changing  it; for a moment he creates a new entity but  presently he lets it go, allowing it to continue along  its own (natural) path of development.
4.3 Two aspects are important here: the artistic product is non-durable; the artistic  product is a  work process – a creation procedure that is guided and directed by the artist; the procedure is  photo-documented step by step.
4.31  Tendency towards the dematerialization of art. A shift from the applicable and market value of  the work.
4.32  The artistic product is the work process. Hergold works in three ways. He imposes order  (Avenue, The Destruction of the Tree), interferes with the surface (The Key of the Lord of the  Castle = Pinus's Gardener, The Structures of the Rain, Spiral Journey, Stamping, Mamma),  and transports the surface (Coating,Propagation, The Tectonics of Space).
4.321  Imposition of order: transformation of disorder into order and of nature into culture.
4.322 Interference with the surface: defining the boundaries of the bodies – sculpture. Changing the  surface – painting. Land art.
4.323  Transportation of the surface. The surface becomes a sign in another sign system. This makes  visible the construction of reality. The sign slips through different sign systems.
4.4  Within the process solutions more important than those associated with the end product are  revealed. One could say that the end product allows fewer aspects to view it from than the  process which at every particular stage allows at least as many aspects as the end product.  Expressed as a formula this would  read:
 x < x1 + x2 + x3 + ....
 because
 x ? x1 ;  x ? x2 ;  x ? x3 ; ....
 x is the number of aspects of the end product.
 x1, x2, x3 is the number of aspects of a particular stage of development.
5.  Peter Hergold vs. oho: »Reistic articles do not have the aura of valuable and unique products  accessible only to the elite. They persist as objects among objects...«
 Oho was about the pacification of action, about states. To eliminate the process of the creation  of the artifact, of the work of art. To obscure the action, the process, the boundary beyond  which an object turns into a work of art. »…tendency towards the harmonic integration with  nature in oho's land art; this tendency does not imply merely the 'ecological' attitude in the  narrow sense of the word, but also the desire for the complete, physical and spiritual harmony  with the cosmos.«
5.1  Hergold's work complements the work of oho. He is aware that visual effect is an inseparable  part of the work of art, so he focuses on action and transformations.
5.2  Substance can be observed in two ways: as fluctuation or as particles. While oho concentrated  on particles, place, space, and substance, Hergold focuses on fluctuation, time, transformation,  and entropy.
5.21  Oho's and Hergold's work are thus underlined by two essentially different processes: oho is  concerned with the state, particles; while Hergold seeks action, process, fluctuation. Oho's  work is devoid of the process, which is intentionally concealed and covered. Hergold, on the  other hand, exposes the process seeing it as an essential part of the work of art.
5.22  Hergold's work does not want to be harmoniously included in nature, the world, or the  environment in any way. A work of art and culture cannot but be alien (in that context).
6.  Transition from no-state to the (a) state.
6.1  Entropy and irreversible transformations are the basic principles of the  existence of substance.  That is to say, an eternal motion leading to no end product. The end product exists only within  the language. (Systems tend towards disorder).
6.2  The process of the transformation of something into a work of art, or object, or  the state of  objects. What is  important here is the boundary or the wound inflicted on the boundary once  we step over it. When disorder turns into order. And order is ephemeral, much like the wound  itself. The wound is healed, order reverts to disorder.
6.3  A state of harmony in nature is human utopia. There is only the process, action, transformation  from one state into another: coagulation, evaporation, combustion, sublimation,... Action is  invariably quite the opposite of what is implied by the term harmony.
6.4  The opening, the wound, is both the state and the process.
6.41  The wound inflicted on the skin, on the boundary of the body, on Earth, on earth or in the air,  the apparent boundary of a square or a street. Fire is the wound inflicted on space; the trace left  behind on the grass, on the plastic bags filled with water.
6.42  The wound is the record of the final state of an artistic action, it is the order. At the same time,  it is only the transient stage; the wound heals and regenerates.
6.43  Autotomy. Asexual reproduction by division. The wound as a picture of the fatal process of an  object's transformation into a work of art.
6.5  Reversible and irreversible.
6.51  The universe is a complete thermodynamic system. Everything that happens within it affects  everything else, no matter whether man perceives it or not. A transformation which would be  limited to a single system within a larger system is not possible.
6.52  There are no reversible transformations in nature. Even if they exist, we cannot possibly know  about them because all of our thought and  perception would have to reverse along with such  a reversible transformation so that  eventually we could not know whether anything at all  happened in between.
6.6 Measuring represents the irreversibility of the universe. Whatever exists anywhere across the  universe will always be something else since the result of the measuring is always something  different.
7.  Man always sees the picture.