REPRESENTATIONAL ACT
Posted: August 26th, 2021
REPRESENTATIONAL ACT
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Analysis of Detroit Reassembly Plant
Description of Fake Parts in this Project
Detroit Reassembly Plant involves the gathering of disused materials across the city, and a further combination of these crumbled ruins to establish form and image that signify a particular a new kind of perception[1].The crumbled materials are rearranged to make figural masonry forms that transcend the qualities of a physical object. To bring about an effect of physical attributes in these forms, the ruin materials undergo oxidation, patinas, and verdigris, thus evoking chemical characteristics of nature and decay[2]. Besides, the figural masonry elements of these forms are enhanced by the polychromic efflorescence effects, leading to a quasi-real atmosphere of entropy. The whole act of combining the ruined photography materials entails the flat mapping of self-consciously digital impacts that result in creatively confusing representations between the photographed materials and digitally produced images[3]. Undeniably, the preexisting ruin materials in the city intend to advance a kind of material reality that would be positively converted into a reflective impression.
How Interconnection of Each Fake Parts Build Metaphor of Real World
The use of ruins and naturally decayed building materials depict a real-world where nature is expected to relinquish its aging purpose on phenomena. Notably, these fake parts create an observed,incompatibleassociation between architecture and decay, which may be resolved through aesthetic soundness[4]. Although the ruins of a building symbolize the act of dying for pieces of art, it is clear to point out that natural forces have facilitated the outgrowing of such forms. Therefore, the ruins preexisting in the art would live farther to bring about a kind of unity that characterizes the real world. However, the friendly relationship between the overlying architectural remains as well as the onslaught of nature transcends a kind of a new unity that mirrors a perception coupled with thoughts. For example, these fake parts bring reality in life by redefining the way one distinguishes perception from thought[5]. In one’s cognitive mind, these two words seem to interplay rather unusually in the sense that what could be felt and thought works in a thin contrasting line. Indeed, this kind of association among fake parts results in a quietly binding reflection of a form that continues to characterize the reality of urbanity.
Similar Theoretical Method also Shown in T+E+A+M’s Other Projects
Summary of Representational Techniques in “Another Rock” and “A Range Life”
“Another Rock” is an object rendering photogrammetry image that applies multiple photographs to transform a 2-dimensional image into a 3-dimensional model that resembles a stacked inclined plane of a real rock[6]. This kind of representation of a rock applies the aesthetic value of nature to reproduce and redefine a different but hazier version of rock’s surfaces featured in lengths and stripes of varied coloring patterns[7]. Therefore, the whole photogrammetry process entails dividing form and image into two materialssymbolizing the distinction of authenticity exhibited by a rock that mirrors a real rock surface.
“A Range Life” is a house proposal project that seeks to demonstrate the form of the Hollywood building as it conforms to the elements of image domesticity resulting from scenographic materiality analysis[8]. With the proposal drawing fast and constant inspirations from an early residential building in Los Angeles, this project fosters a theme of post-digital materiality in the sense that the range life demonstrates the rockiness qualities of a 2-D and 3-D profiles. Notably, the utilization of multiple guided surfaces of rockiness offers a resemblance image of color attached to the real surfaces of the Hollywood building[9]. Indeed, this housing proposal brings a perception of reality from the unreal form and non-physical qualities of abstraction.
How the Fake Represents the Real in these Two Projects
The utilization of abstracted forms of fake parts to impact real elements of “Another Rock” is effective. The transition of a 2-D stacked image of a rock into a 3-D object that seems somehow laterally inclined across its planes qualifies the project to be seen as a reality-oriented structure[10]. Besides, the exhibition of “A Range Life” through the use of a thick, slumping, and superimposed roof-like form helps establish a real element of an actual house of Hollywood. With fake parts,beings developed further with pelts or blankets surface imprinted with rock images and rockiness textures help foster the characteristics of a real form of a house, but yet considered an abstraction.
Relationship in Techniques Between these Projects which Reveal T+E+A+M’s Pursuit
The
relationship between these two projects reinforces the significance of
post-digital materiality that qualifies as a camp-materiality stressing on the natural
state of artificiality[11].
The association of these fake parts brings forth an analogy that the natural
state of things does not possess higher values over others considered false
abstracted things. Therefore, the whole discovery of this post-digital
materiality signifies equality in the intrinsic value of both the synthetic and
artificial versions[12].
As a result, it brings a lasting impression that the application of
innovation-based digital imaging does not seem unreal; instead, the exterior of
an acquainted material would no longer show the actual presence of this particular
material[13]. Consequently,
the camp material demonstrates the ease of transforming cheap architecturalmaterials
into something more useful based on how one’s views the previously hidden
intrinsic values.
Bibliography
Abrons, Ellie. “For Real.” Anyone Corporation, vol. 41, no. 2, 2017,pp. 67-73.
Clutter,
Mclain. “Notes on Ruin Porn.” The Avery
Review,18,2016, pp.1-9.
[1] Clutter 2
[2]Clutter 3
[3]Clutter 3
[4]Clutter 4
[5]Clutter 4
[6]Abros 69
[7]Abros 69
[8]Abros 70
[9]Abros 70
[10]Abros 71
[11]Abros 70
[12]Abros 70
[13]Abros 70
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