Synthetic Proto-Image 2014 

Invited Distinguished Professor:

Bruno Juricic.

 

Gabriel Esquivel,  Studio Professor

Stephen Caffey, Assistant Professor of Art and Architecture History and Theory

Texas A&M University

 

Team: Zach Hoffmann, Braden Scott, Cody Clancy, Alyssa Johnston .

 

 

One of the interests of the studio has been to use the normative rendering engine as a machine to produce a drawing and in that sense capture the essence of craft in architecture through the use of linework. The raw linework, made up of a series of splines, which are considered to be the pinnacle of the modernist line, was the basis for the three-dimensional formation of the object. In its development, the object has retained the spline’s presence and sectional legibility. However, the final iteration of the object has exhibited a mutation in the quality of the spline, morphing the retained linework into a messier, more turbulent aesthetic that retains no notion of the modern.

 

In our earliest studies, we were interested in the idea of solarization, which is defined as a self-curating, light deterioration surface of an image when exposed to the environment. In this way, it creates a turbulent linework rendering that establishes an ambiguity of figure and ground, as well as between the surface and interior.

 

A non-indexical relationship is established between the two through the use of hi-fi articulation on the object and low-fi articulation on the ground. The two retain a similar figural language but no indexical relation. The form is established as a diagrammatic cavity with surrounding active surfaces. The surfaces are composed of an agglomeration of layers that are articulated at multiple levels, establishing a hierarchy that in turn establishes the nemat and holey spaces. The holey spaces are the porous spaces that share the closest proximity to the surface, while the nemat spaces have a larger proximity.

 

The formative timeline is created through these processes and establishes the raw proto-image, which retains a notion of the ingredients and all formal qualities from which the raw drawing is composed of. At that point, we have observed what we refer to as the escaping character: the behavioral autonomy of the object. This establishes the vertical synthetic timeline and through that, the synthetic proto-image. (VIDEO)

 

The synthetic proto-image is the re-appropriation of the scientific image as an aesthetic to directly transgress the notion of the scientific classification of an object. It retains a notion of duration from the primitive to the synthesized and through its curation has begun to note not only the ontological shift defined by the mutation of the modernist spline to the turbulent aesthetic, but the epistemological shift from the object to object of interest.

 

The object and its relation with the ground can be perceived as nomadic in the Hegelian sense of beauty; the turbulent, high-fidelity articulation of the surface creates no identifiable resting place for the perceiver. This geometry perturbs the low-fidelity ground, creating a constant irritation between the two. Although formal irritation between the object and the ground exists, the covalent bond between the two is one of shared origin, the spline. Sharing this bloodline so to speak, the two retain a constant reliance on each other. While the argument and text describe the object as existing purely in fluctuating nomadicity, the object exhibits pseudo-stasis only when drawings are produced and in turn creates an ambiguous notion of duration. This produces the peripatetic condition: the discussion of the object of interest.

 

 

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