Abstract
Abstract
The paper questions concepts of transformation and deformation in architectural becoming. Provoked by the role of diagram and transformation dominating actual discussions, I state the role of deformation as an equal category of composing.
Deleuze, with Bacon, refers to transformation and deformation as two very different categories.
Moves of transformation produce new places or singularities in a series, making a Figure emerge that switches between force and form and between transformation and deformation. Deformation is acted out by sensation, passing from one ‘order’ to another. Bacon criticises figurative as well as abstract painting as passing through the brain and not acting directly upon the senses. Figurative and abstract painting both fail to liberate the Figure, implementing transformation of form, but not attaining deformations of bodies. Bacon, then, is concerned about deformation, about painting the sensation, which is essentially rhythm, making Figure-rhythm relations appear as vibrations that flow through the body - making resonance.
Deleuze, with Bergson, argues that art extracts ’a little time in a pure state’ from the everyday repetitions, and thereby opens the capacity of the body to be affected by change. The everyday and the ceremonial body, the ordinary and the aberrant movement – these poles generate a passage rather than a difference from the one to the other: from attitude or position to gesture or kinaesthetic twist. Known from without through perception but also from within by sensations, body ‘images’ are different to all other images. Twisting these body images make a mode of operation of art.
The paper will address the above issues discussing modes of operation and appearance of my actual project. Acting in the reality of drawing, the project confront the body, situated in real time and depth, with drawing transforming and deforming time and depth.
The paper questions concepts of transformation and deformation in architectural becoming. Provoked by the role of diagram and transformation dominating actual discussions, I state the role of deformation as an equal category of composing.
Deleuze, with Bacon, refers to transformation and deformation as two very different categories.
Moves of transformation produce new places or singularities in a series, making a Figure emerge that switches between force and form and between transformation and deformation. Deformation is acted out by sensation, passing from one ‘order’ to another. Bacon criticises figurative as well as abstract painting as passing through the brain and not acting directly upon the senses. Figurative and abstract painting both fail to liberate the Figure, implementing transformation of form, but not attaining deformations of bodies. Bacon, then, is concerned about deformation, about painting the sensation, which is essentially rhythm, making Figure-rhythm relations appear as vibrations that flow through the body - making resonance.
Deleuze, with Bergson, argues that art extracts ’a little time in a pure state’ from the everyday repetitions, and thereby opens the capacity of the body to be affected by change. The everyday and the ceremonial body, the ordinary and the aberrant movement – these poles generate a passage rather than a difference from the one to the other: from attitude or position to gesture or kinaesthetic twist. Known from without through perception but also from within by sensations, body ‘images’ are different to all other images. Twisting these body images make a mode of operation of art.
The paper will address the above issues discussing modes of operation and appearance of my actual project. Acting in the reality of drawing, the project confront the body, situated in real time and depth, with drawing transforming and deforming time and depth.
| Originalsprog | Engelsk |
|---|---|
| Antal sider | 1 |
| Status | Udgivet - 2012 |
Kunstnerisk udviklingsvirksomhed (KUV)
- Ja