notations / eighth lecture / June 11th / 2018

about a reference
we cannot deny
–
if we aim for a designing which
is distinctly marked
by our personal aesthetically
language
first we must ask
for which kind of reference
we are determined
from our very early childhood:
–
/ the functional or
/ the narrative understanding
of how, who and why
we have to be
–
very soon we will understand
that functionality
has no personal language
and will never own it
–
so we have to ask ourselves
which is the reference
for speaking with
/ our own voice according
/ our autonomous will to design
our reality
independently from any
pre-given value and sense

Featured

1
about a reference
that we can not
hide from
in contradiction to
the reference
of functionality
we examined
in the last lecture

2
the body of Christ
is dead
what’s left is
the grammatical structure
of becoming a vivid
extension again and again
inseparably connected
to a text
/ texture
/ of our narrative
our perception is constantly changing

we have to step back

3
so for a moment
we have to step back
to observe the structure
of grammar
and how the volume
(in other words
the vivid extension)
is enclosed within

we are continuously switching

4
as you can see
we are continuously switching
between
/ grammar
/ volume and
/ narrative
this is how the process
of composition
is taking place

the elements of the respective topology

5
to find a reference
for what
we are doing
it is undeniable needed
to compose
the elements of
the respective topology
anew
–
to do so first we have to
/ de-compose
/ de-construct
the elements according to
the grammatical rules

composed by an „I“

6
so
to discover our reference we must
examine the co-ordinates
/ perforations
of the grammatical structure
which will lead us
to the narrative
/ of the relation between ourselves
and the world
which is to be found as a text
/ texture
composed by an „I“ (for example
Hans Holbein the Younger)
in relation
to a „You“ (for example
Jesus of Nazareth)

1st the bodies / 2nd the names

7
the coordinates / perforations
can only be extracted
from only two topologies
/ 1st the bodies
(natural as well as artificial ones)
/ 2nd the names
(words, numbers and formulas
which give an idea, how to
count and name
/ the topological elements
/ the constellations
/ the respective topos)

we must make decisions

8a
in order to read
the grammatical structure
we must make
decisions about the question
how to
/ dissect the structure
(from point to point)
/ arrange the dissected elements
anew

systematic of perceptual construction

9a
to be able to work
this way
we must have a closer look at
the systematic
of our perceptual construction
/ the ability to identify
the coordinates of the interactions
between the different objects

to give a name to what happens

10
to perceive something
generally means
to transform the elements and their
expectable movements
into a score (row of signs
/ words
/ numbers)
in order to give a name / formula
to what happens
–
we never perceive
a single topos
but always a more or less complex
topology (i.e. a grammatical
combination of elements)

the shape consists of uncountable varieties

11
our perception
is divided into
/ the undeniable truth of perforations
/ the multiplicity of shapes /
the shape consists
of uncountable varieties
(beyond true or false)
of the volume- / the colour-
expansions

the most important question

12a
the most important question
in designing
is not related to
/ the true
/ the beautiful
/ the good
but much more
to the reality of
what we are perceiving

connections and knots of our notations

12b
and how
our perception is constantly
changing
with every repetition
of what we are
realizing (with every depicting)
and by this the connections
and knots of our
notations are inter-woven
into the texture

Tomaso Carnetto13 June 2018