.
(((( ( Eindhoven University of Technology, The Netherlands.
( ( ( Faculty of architure, building and planning.
( ( ( Mail address : oase@xxxxxxxxxx
( ( ( Gopher : gopher.tue.nl
(((( (
.
( ((((
( ( (
( ( (
(( (
.
( (((( __ __ ________________
( ( ( / ___--_ The oase team :
( ( ( // | | ----------------
( ( ( - | |
( (((( | | _| / Henri Achten
. | |_/ | Marc van Grootel
(((((( | _/ Roel Knapen
( ( Online /_ | Jo Mantelers
( ( Architecture /__ _---_* | Rob Robbers
( ( Students /____/ | / Arthur Turksma
(((((( Eindhoven (*) |_| Marco Vlemmix
.
X-Mailer: ELM [version 2.4 PL22]
Content-Type: text
Content-Length: 6126
Yo! Here's a samplaistic message from MC tha Samplaist. Consider the
possibility of a MERZmachine, well, you're looking at it. While using it
my aim is to solve old art-riddles and mysteries. Quite like killing your
idols. So I sat back a couple of weeks ago to think about what to do next
and the PROUN.FLICs are the results. In case you don't know what a PROUN
is I will give you an explanation. A PROUN is a constellation of
non-objects (german: nicht-Gegenstanden) in mathematic space, and there is
the question what kind of things don't want to be substantial objects. Up
to a certain degree the PROUNs really tend to be objects and objective,
but considered as space-experiences they are abstract ( gegenstandslos).
The PROUNs are art-works of EL Lissitzky, an artist I'm not going to
introduce because everybody who was interested in the title MERZmachine
should know who he is. But he's one of my idols. Simular to the MERZbau
of the german DADA st Kurt Schwitters , a try-out of a Gesamtkunstwerk, a
PROUN, the abbreviation of Project for the Affirmation of the New, is EL
Lissitzkys attempt to create his own Gesamtkunstwerk. The PROUNs are meant
to be the in-between of Painting and Architecture, they are floating
geometric bodies balanced by the cosmic tensions of the image. In a PROUN
the material is defined by the construction itself, when looked at as
architecture, that is influenced by the technical inventions and the
economic devices of the revolutionary period in the Sowjet union (the 1917
revolution I mean). The new system of powers defines the new art of
painting, it's no longer 2dimensional but drags us into another
moredimensional virtuality. You have to climb into the painting this time,
you have to walk or fly, if you want to, around the PROUN and check its
system of mathematical axes and realise they are slanted in every possible
way. You have to look at it from above, and once again from down under.
Examine a PROUN this way and you will be able to leave the axis of
central perspective and screw yourself into the unexpected space. When
you have arrived there EL Lisstzky explains when standing on this
scaffolding in the space you must begin to mark it out. Emptiness, chaos ,
the unnatural become space, that is: order, certainty, plastic form, when
we introduce markers of a specific kind and in a specific relationship to
each other. The structure and the scale of the group of markers give the
space a specific tension. By changing the group of markers we alter the
tension of the space, which is formed from one and the same emptiness.
The forces of the opposites or the agreement of two degrees of black or
two colors are comparable to the tensions of the agreement or contrast of
technical materials. Color indicates the new material by way of a new
form, so it becomes a piece of architecture still interesting in the
nineties. But there's more: (see K. und Pangeometrie) When you look at
the perspective you will notice it is not the regular one. It's the
perspective of irrational space. Other perspective systems such as the
planometric space and central or oblique perspective space have limited
space, they have defined their finity and are locked up in there.
Planometric space gave us the arithmic sequence of proportions: 1, 2, 3,
4, 5,...... Perspective space gave another sequence of proportions: 1, 2,
4, 8, 16, 32,..... This last sequence was the one most used in western
art before Modern Times. In irrational space it's a position system
according to Lissitzky. Relative dimensions can't be measured in absolute
dimensions as in perspective space. The top of the perspective pyramid is
being transferred into infinity, comparable to the blue or gold background
of medieval art. There's one significant difference, the background is no
longer just background. When you consider the plane of the painting as 0
you can call the depth in the picture negative or the height in the
picture positive. This way all relative dimensions are possible, because
irrational numbers are applicable now. In Demodern Times (existing since
graduation of Rem Koolhaas, peace out Marc van Grootel) we've got
computers and only two numbers left: 0 and 1 .Although Lissitzky thought
irrational distances couldn't be measured wih finit standards he would
have to admit that there is a physically irrational space now, build with
only 0 and 1. Because all this, I think it's a Hommage a Lissitzky to
transfer his experiments into the physical irrationality (not virtual
reality). One more argument in favor of my experiment is the fact that it
is the task to transform a material object in rest, a standard in
3dimensional space, to a new expression of space in movement, lasting no
longer than the movement itself and for this reason imaginary.With a
computer it's possible to record these movements and leave them in
irrational space.
ABOUT THE FLICS!!! In every flic the first frame, also available as a
GIF, is the original painting by EL Lissitzky. The others were made with
MORPH using its technique of setting marking points in the start- and
end-images. In my experiment both images were the same and only the
marking points were set at different positions in start- and end-image.
After doing this I made some flics. Look at them and come to a conclusion,
an irrational art-riddle has been solved. So I killed one of my idols.
When you wanna see K.S. and Rem Koolhaas being solved as cross-roads
puzzels or any reactions have risen contact me via e-mail and follow my
graduation projects.
The flics and gifs are to be found at the
gopher-site of OASE: gopher.tue.nl
path TUE-CIS/Bouwkunde/OASE/Projects/MERZmachine
or search for OASE... (via Pisa e.g.)
Peace out to the OASE-team, Khizm (thanks for introducing me), Marieke,
MC tha Philibuster aka de Naivigator, Marc tha DMA, AT&Turksma,
and F@#'k JMW Computers (=bad news).
very special shot out to the two new -ISMS in art: DEMODERNISM & SAMPLAISM.
long live Mc
E-mail of MC tha Samplaist: bwautfr@xxxxxxxxxx.
(((( ( Eindhoven University of Technology, The Netherlands.
( ( ( Faculty of architure, building and planning.
( ( ( Mail address : oase@xxxxxxxxxx
( ( ( Gopher : gopher.tue.nl
(((( (
.
( ((((
( ( (
( ( (
(( (
.
( (((( __ __ ________________
( ( ( / ___--_ The oase team :
( ( ( // | | ----------------
( ( ( - | |
( (((( | | _| / Henri Achten
. | |_/ | Marc van Grootel
(((((( | _/ Roel Knapen
( ( Online /_ | Jo Mantelers
( ( Architecture /__ _---_* | Rob Robbers
( ( Students /____/ | / Arthur Turksma
(((((( Eindhoven (*) |_| Marco Vlemmix
.
X-Mailer: ELM [version 2.4 PL22]
Content-Type: text
Content-Length: 6126
Yo! Here's a samplaistic message from MC tha Samplaist. Consider the
possibility of a MERZmachine, well, you're looking at it. While using it
my aim is to solve old art-riddles and mysteries. Quite like killing your
idols. So I sat back a couple of weeks ago to think about what to do next
and the PROUN.FLICs are the results. In case you don't know what a PROUN
is I will give you an explanation. A PROUN is a constellation of
non-objects (german: nicht-Gegenstanden) in mathematic space, and there is
the question what kind of things don't want to be substantial objects. Up
to a certain degree the PROUNs really tend to be objects and objective,
but considered as space-experiences they are abstract ( gegenstandslos).
The PROUNs are art-works of EL Lissitzky, an artist I'm not going to
introduce because everybody who was interested in the title MERZmachine
should know who he is. But he's one of my idols. Simular to the MERZbau
of the german DADA st Kurt Schwitters , a try-out of a Gesamtkunstwerk, a
PROUN, the abbreviation of Project for the Affirmation of the New, is EL
Lissitzkys attempt to create his own Gesamtkunstwerk. The PROUNs are meant
to be the in-between of Painting and Architecture, they are floating
geometric bodies balanced by the cosmic tensions of the image. In a PROUN
the material is defined by the construction itself, when looked at as
architecture, that is influenced by the technical inventions and the
economic devices of the revolutionary period in the Sowjet union (the 1917
revolution I mean). The new system of powers defines the new art of
painting, it's no longer 2dimensional but drags us into another
moredimensional virtuality. You have to climb into the painting this time,
you have to walk or fly, if you want to, around the PROUN and check its
system of mathematical axes and realise they are slanted in every possible
way. You have to look at it from above, and once again from down under.
Examine a PROUN this way and you will be able to leave the axis of
central perspective and screw yourself into the unexpected space. When
you have arrived there EL Lisstzky explains when standing on this
scaffolding in the space you must begin to mark it out. Emptiness, chaos ,
the unnatural become space, that is: order, certainty, plastic form, when
we introduce markers of a specific kind and in a specific relationship to
each other. The structure and the scale of the group of markers give the
space a specific tension. By changing the group of markers we alter the
tension of the space, which is formed from one and the same emptiness.
The forces of the opposites or the agreement of two degrees of black or
two colors are comparable to the tensions of the agreement or contrast of
technical materials. Color indicates the new material by way of a new
form, so it becomes a piece of architecture still interesting in the
nineties. But there's more: (see K. und Pangeometrie) When you look at
the perspective you will notice it is not the regular one. It's the
perspective of irrational space. Other perspective systems such as the
planometric space and central or oblique perspective space have limited
space, they have defined their finity and are locked up in there.
Planometric space gave us the arithmic sequence of proportions: 1, 2, 3,
4, 5,...... Perspective space gave another sequence of proportions: 1, 2,
4, 8, 16, 32,..... This last sequence was the one most used in western
art before Modern Times. In irrational space it's a position system
according to Lissitzky. Relative dimensions can't be measured in absolute
dimensions as in perspective space. The top of the perspective pyramid is
being transferred into infinity, comparable to the blue or gold background
of medieval art. There's one significant difference, the background is no
longer just background. When you consider the plane of the painting as 0
you can call the depth in the picture negative or the height in the
picture positive. This way all relative dimensions are possible, because
irrational numbers are applicable now. In Demodern Times (existing since
graduation of Rem Koolhaas, peace out Marc van Grootel) we've got
computers and only two numbers left: 0 and 1 .Although Lissitzky thought
irrational distances couldn't be measured wih finit standards he would
have to admit that there is a physically irrational space now, build with
only 0 and 1. Because all this, I think it's a Hommage a Lissitzky to
transfer his experiments into the physical irrationality (not virtual
reality). One more argument in favor of my experiment is the fact that it
is the task to transform a material object in rest, a standard in
3dimensional space, to a new expression of space in movement, lasting no
longer than the movement itself and for this reason imaginary.With a
computer it's possible to record these movements and leave them in
irrational space.
ABOUT THE FLICS!!! In every flic the first frame, also available as a
GIF, is the original painting by EL Lissitzky. The others were made with
MORPH using its technique of setting marking points in the start- and
end-images. In my experiment both images were the same and only the
marking points were set at different positions in start- and end-image.
After doing this I made some flics. Look at them and come to a conclusion,
an irrational art-riddle has been solved. So I killed one of my idols.
When you wanna see K.S. and Rem Koolhaas being solved as cross-roads
puzzels or any reactions have risen contact me via e-mail and follow my
graduation projects.
The flics and gifs are to be found at the
gopher-site of OASE: gopher.tue.nl
path TUE-CIS/Bouwkunde/OASE/Projects/MERZmachine
or search for OASE... (via Pisa e.g.)
Peace out to the OASE-team, Khizm (thanks for introducing me), Marieke,
MC tha Philibuster aka de Naivigator, Marc tha DMA, AT&Turksma,
and F@#'k JMW Computers (=bad news).
very special shot out to the two new -ISMS in art: DEMODERNISM & SAMPLAISM.
long live Mc
E-mail of MC tha Samplaist: bwautfr@xxxxxxxxxx.