By John Rajchman
Foreword by way of Paul Virilio during this sequence of overlapping essays on structure and artwork, John Rajchman makes an attempt to do idea in a brand new approach that takes off from the philosophy of the overdue Gilles Deleuze. ranging from notions of folding, lightness, floor, abstraction, and destiny towns, he embarks on a conceptual voyage whose target is to aid "construct" a brand new area of connections, to "build" a brand new idiom, maybe even to indicate a brand new structure. alongside the way in which, he addresses questions of the hot abstraction, operative shape, different geometries, new applied sciences, international towns, rules of the digital and the formless, and chances for serious concept after utopia and transgression.
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Extra info for Constructions
Series. 6dc21 97-35756 CIP Page v Foreword by Paul Virilio vii one Constructions 1 two Folding 11 three Lightness 37 four Abstraction 55 five Grounds 77 six Other Geometries 91 seven Future Cities 109 eight The Virtual House 115 Index of Names 142 Page vii Foreward Page viii used to lift up, seemingly effortlessly, what weighs down, it is like the concept that allows what thinks and is thought to be released and take off. If the rapid shuttle is the perfect illustration of the constant feedback of our now globalized Time, the pivot of the pulley would then represent the axis of a Time belonging to a reason that tries to disclose the hidden meaning of the Event.
4 Kant's aesthetics is preoccupied with analogies between "fine" work and "beautiful" nature, which leads to romantic or speculative notions of purposive form and organic system. " It is rather a singular, irregular construction built from many circumstances, capable of quite other stranger things than reflecting a beautiful self-accord of nature; often it knows no other logic of development than the crises it goes through. It therefore has a loose, unfinished plan before it acquires a recognizable "form" or "represents" anything, and so may be said to offer, and to be made from, "sensations" prior to forms and representations.
For the jumbled lines and titled planes of the folding irruption, which deflect its surfaces onto its angular remnants, do not translate a free-flowing or transparent space. They do not possess even what Colin Rowe called "phenomenal transparency": they do not fit in a "pictorial" space where light is cast on a complex of clear and distinct forms for an independent eye standing outside their frame. Yet if Rebstock has a different feel from a free-flowing modern transparency, it is not achieved by enclosing the units and attaching to them a kitsch set of contextualizing or historicizing symbols.