Or the Smooth and Exacerbated Geometries.
Ex-acerbated, deeply affected.
Geometry, earth measurement.
If geometry, as a construed spatial form, brings perception, it might also bring about singular experiences, behaviours, feelings, some intensities.
Let’s assume as the basic postulate that surviving perceptions created by paintings, sculptures, architecture actually provide Percepts, according to Gilles Deleuze’s definition. We can also consider that emotional behaviours created by a work of graphic art, music, space, actually come from Affects.
If it be so, in the case of concrete geometries, the emergence of Percepts and Affects is only possible by the mean of Matter which operates their inclusion into a spatial dimension. Conversely, single perceptions and affections are solely defined in a temporal dimension.
As an oversimplified succinct demonstration,
If,
Concrete Geometries create Perceptions (and might create Emotions)
And If
Concrete Geometries are created by Matter, Material, Substance
Then we can admit that
Concrete Geometries create Surviving Perceptions (and might create Surviving Affections) by means of Matter
So,
Concrete Geometries create Percepts, and even sometimes Affects.
Here appears the Smooth Space concept:
“Smooth space is filled by events, (…) it is a space of affects (…) that is why smooth space is occupied by intensities, wind and noise, forces, and sonorous and tactile qualities, as in the desert, steppe, or ice. The cracking of ice and the song of the sands.”
DELEUZE Gilles & GUATTARI Félix, Capitalisme et schizophrénie 2, Mille plateaux, Les Editions de Minuit, collection Critique, Paris, 1980.
But,
How to decrypt the perceptive/affective dimension from a concrete geometry?
What kind of tools and process can space designers carry out in a view to re-encode the Smooth space aesthetics?
The transition between the subjective and the concrete clearly appears as the tricky part of the process and as we can easily notice now, the purpose of this research is certainly not to provide any foolproof way to reach what Gilles Deleuze calls the Smooth in “Mille Plateaux”. It is rather, at least, a key intending to decode denote defold Percepts encrypted into crinkled warped worked matter.
Then, a second step will attempt to recode renote refold a form, a Percept in our case. This sensible singular part of the modus operandi targets to find out some endemic parameters and organizations from pummelled matter’s geometries… the ones which have apparently none.
In order to reach a re-encrypted parametric geometry, the following research attaches importance into the observation Matter’s behaviours and tropism towards curvature convulsion exacerbation crawling through what geologists and glaciologists call viscoplasticity consistency, smoothness for us. Georges Bataille would even call it eroticism, according to the quest for the lost continuity, the inner life, the dissolution of constituted forms.
Thanks to interactive parametric 3d modelling tools, we see spatial forms rising. A new dimension is brought when supplementing a growing thickness vector, essential in prototyping processes.
Perceptions and emotions created by geometries seem to achieve their climax of intensity when boundaries get dissolved in a flowing environment, kind of liquid. Smooth geometries are part of a fluid, disturbed by the instability of exacerbation.
