joseph albers, White Line Squares, Series I
variations on a theme : sets in art
……….works of art (simple, uniform, interchangeable elements assembled in a regular, easily apprehended arrangement) that are conceived in series or as part of a larger group; often the individual work is regarded as incomplete in itself, needing to be seen within the context of the whole………...
……………artists working sets of images represent a dramatic shift in artistic thinking and theory of the twentieth century. With the artistic embrace of multiplicity, the print medium became increasingly more accepted. The individual markings by the artist’s own hand lost its relevance, leading to relative demise of the original………….works do not present final aesthetic solutions, but rather they express a moment in the infinite multitude of possibilities……………
……………..repetition, both an aesthetic and a poetic device, is linked to notions of tradition, to the idea of an original and its copies, originality, authenticity, and appropriation……….Why repeat? Do repetition artists use same motifs over and over again to achieve perfection?............readymades are marked as images that ridiculed the need of tradition to provide special meaning to the production and the choice of materials. Pop artists, minimalists, performance, and conceptual authors, adopted the concept of appropriation and repetition as a way to undermine ideas of authenticity and value……………..
deviation vs derivation
deviation—late 14c., "a going astray, a turning aside from the (right) way or course, a going wrong, error," from Late Latin deviatus, past participle of deviare "turn aside, turn out of the way," from Latin phrase de via, from de "off, away" (see de-) + via "way" (see via). From 1630s as "departure from a certain standard or rule of conduct or original plan."
derivation—the general meaning "origination, descent" is from c. 1600; that of "act or fact of drawing or receiving from a source" is from 1650s. the obtaining or developing of something from a source or origin……in generative grammar, the set of stages that link the abstract underlying structure of an expression to its surface form.
…………shape grammars———A shape grammar consists of shape rules and a generation engine that selects and processes rules. A shape rule defines how an existing (part of a) shape can be transformed. A shape grammar minimally consists of three shape rules: a start rule, at least one transformation rule, and a termination rule. The start rule is necessary to start the shape generation process. The termination rule is necessary to make the shape generation process stop…………
——————-1 - the word 'type' represents not so much the image of a thing to be copied or perfectly imitated as the idea of an element that must itself serve as a rule for the model————————2 - RULE MODELS offer more flexibility than tree models: for instance, while decision tree branches are mutually exclusive, the potential overlap of rules may give additional information. This flexibility comes at a price, however: while it is very tempting to view a rule as a single, independent piece of information, this is often not adequate because of the way the rules are learned. Particularly in supervised learning, a rule model is more than just a set of rules: the specification of how the rules are to be combined to form predictions is a crucial part of the model.
Structure in Foam. Changes in foam structure, component mass ratios, and treatment conditions can be made with directional modifications and classified as rigid, elastic, and integral forms. Foams provide a blueprint for physical modeling of dynamical multiscale systems with complex structure.
……..On the Origin of Species (On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life), published on 24 November 1859, is a work of scientific literature by Charles Darwin that is considered to be the foundation of evolutionary biology. Darwin's book introduced the scientific theory that populations evolve over the course of generations through a process of natural selection. The book presented a body of evidence that the diversity of life arose by common descent through a branching pattern of evolution……..
…….On Growth and Form is a book by mathematical biologist D'Arcy Wentworth Thompson. It covers topics including the effects of scale on the shape of animals and plants; the effects of surface tension in shaping soap films and similar structures such as cells; the logarithmic spiral as seen in mollusc shells and ruminant horns…..The work pioneered the use of mathematics in biology, and helped to defeat mystical ideas of vitalism; Thompson believed Darwinism to be an inadequate explanation for the origin of new species: he did not reject natural selection, but regarded it as secondary to physical influences on biological form……..
ARQUITECTURA COMPUESTA POR PARTES. ………Este libro continúa el camino iniciado por La arquitectura del patio, y en este caso plantea el estudio de otro sistema universal de proyectar. Que la arquitectura está compuesta por partes, aquellas que surgen para cumplir el programa que da sentido a su existencia, es tanto una definición de su propia naturaleza como la descripción de un sistema de proyectar que recorre la historia de la arquitectura. Iniciándose como tal en el renacimiento tardío, adquirió un estatuto de verdadero método con la arquitectura neoclásica y académica, y participó en muy buena medida en la revolución moderna y en su desarrollo………….El libro examina este sistema desde su capacidad para sostener y conducir arquitecturas muy diversas, analizando las características, principios y medios de composición desempeñados por los diferentes autores, con el fin de poder utilizarlo y servirse de él como soporte de nuevos contenidos. El trayecto de esta aventura supone recorrer la historia de la arquitectura desde Palladio a Kahn, pasando por Le Corbusier, Alvar Aalto y Hans Scharoun…………….
Rodin’s innovativeness resided in the fact that casting versions became a systematic part of his creative process…..…..Rodin also took advantage of the opportunities that multiplication afforded within a work, using the same figure in different positions: the inspiration for Three Faunesses (before 1896) was thus drawn from a figure Rodin employed four times on The Gates of Hell. Likewise, the male figures in The Three Shades (before 1886) were borrowed from Adam (1880-81, itself inspired by the pose of Michelangelo’s Slaves)……………In the late 1880s, in the period of intense activity revolving around The Gates of Hell, Rodin built up a large stock of models of complete figures and fragments, which he could delve into whenever he wanted to experiment with assemblages and transformations. In the early 1890s, Rodin continued his investigations into partial figures (commenced with the Torso of the Walking Man in 1878). He dismantled and reassembled existing sculptures in endless combinations. By casting different parts of figures separately, he could rework the overall composition of a piece, without having to rework everything. Rodin joined his sculptural studies, or bozzetti (c.1890-1900), onto other figures through a process he called marcottage, generally leaving the joins visible in the finished sculpture, thus reviving the idea of non finito borrowed from Michelangelo……….While Rodin drew his inspiration from ancient statuary and Michelangelo’s works, especially fragmentary figures, his own works should be discussed more in terms of partial figures. A fragmentary figure is initially executed as a whole figure, which is subsequently damaged. In a partial figure, only the elements that are visible were actually executed, as was true of Rodin’s works, even if most of his partial figures made after 1890 were casts and enlargements of earlier works. By enlarging fragments of figures, instead of whole figures, Rodin abandoned the practice of representing the body in its entirety, thereby freeing himself from Phidias and Michelangelo’s artistic canons and problematic issues of anatomical proportions. Flawless in form, the fragment thus earned its independence, broke away from the figure to which it had originally belonged, and became a work of art in its own right.
THE WHOLE IS THE UNTRUE: ON THE NECESSITY OF THE FRAGMENT. Almost everything we know about the past comes from physical and narrative fragments. Yet a fragment is not simply the static part of a once-whole thing. It is itself something in motion over time, manifesting successively or variously as object, evidence, concept, and condition. The pieces gathered in this volume—written by scholars of art, art history, archaeology, literature, philosophy, psychology, numismatics, and film—investigate the significance of the fragment, whether received or created. Each essay offers a meditation on a distinctive moment in the history of the fragment, ranging from spolia in late antique architecture to the practice of collage in the modern period.
EL ORDEN FRAGIL DE LA ARQUITECTURA. ………De una manera pareja podríamos decir que la voluntad de orden en la arquitectura se basa en lo relacional, incorpora al sujeto en el centro de sus reflexiones y surge de las múltiples interacciones que desarrolla con el entorno. El orden así se vuelve infinitamente más complejo, se sofistica enormemente al tener en cuenta las numerosas facetas a las que la arquitectura debe dar respuesta. En el proceso genealógico de lo arquitectónico ya no solamente hay que dar una respuesta funcional sino también simbólica, intelectual, estética, emocional……….