By John Rajchman
Foreword by means of Paul Virilio during this sequence of overlapping essays on structure and paintings, John Rajchman makes an attempt to do conception in a brand new manner that takes off from the philosophy of the past due Gilles Deleuze. ranging from notions of folding, lightness, floor, abstraction, and destiny towns, he embarks on a conceptual voyage whose goal is to assist "construct" a brand new house of connections, to "build" a brand new idiom, even perhaps to signify a brand new structure. alongside the best way, he addresses questions of the hot abstraction, operative shape, different geometries, new applied sciences, worldwide towns, rules of the digital and the formless, and probabilities for serious idea after utopia and transgression.
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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.
Deleuze thus speaks not only of implication, explication, and replication but also of what, in Différence et répétition, he calls "perplication"a folding through or folding across. 7 "Perplications" are "cross-foldings" that introduce a creative distantiation into the midst of things. Such distance is the holding apartwhat Deleuze calls the "disparation"of a space that opens in it the chance of a "complex" repetition (not restricted to the imitation of a given model, origin, or end) or a ''free" difference or divergence (not subordinated to fixed analogies or categorical identities).
In this way the grid becomes only a dimension of the folding of the space in which it figures. Eisenman uses the term frame to discuss the grid, as that term has been elaborated by Jacques Derrida, notably in his work on "the truth in painting": much as Derrida says that the dream of a completely unframed space is vain (and that "deconstruction" is not that dream), so one might say that there is no such thing as a gridless architecture. Yet there exists a "complexity," or a potential for folding, that is not contained within any frame or grid; on the contrary, a frame or grid only exists within a larger virtual complexity that exceeds it.