Fine Art Pere Planells Barcelona

PROJECTS

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Modular structures / Geometry generative / Documents-presentations /The tree wind / A terra colection / Fragments of port / Scultural projects / Hexà-estables

SUBSTANCE OF THE GENERATIVE GEOMETRY
The completion of my doctoral thesis on geometric tradition in Western art on modular estructures, left me a deep signal when thinking about running processes and aesthetic. This fact led, even in a methodology that I define as generative Geometry that can be followed in some of the documents and presentations most rationalistic how Catalog Deli and projects, Flowers in the desert, Sapientis est ordinare and Cúbic and finally were embodied in a sculpture, the tree winds .

- The space-time belongs to the fourth dimension and is generated in the four-dimensional space over all the news that we have the ideas and brain functions. The universe has this condition.
- The space-time is the residence of chaos, contradictions, or the knife blade can not cut itself.
- Its function is generative and silence at the same time.
- The geometry generative cave in space-time, being subjective, even private.
- In the space-time geometry in this geometry is only power, geometry is not cream.
- However, the geometry itself is generative expression is the expression of geometry.
- The generative geometry manifested in three levels the process. A first pre-theoretical spacetime, a theoretical expression in primary, secondary and object level and, finally, a tertiary level of socialization and also interaction with the environment. Who watches also generates the work.
- The process returns to the theoretical level-December the level of socialization in the viewer, while the objects degenerates into a nothing.
- The geometry can be generative in itself and not manifest itself, reducing the expression silence, manifesting itself in a mental level and pre-theoretical, otherwise it becomes expression and enters the field of objectification formal and aesthetic.
- The essence of geometry is the generative process of objectification of subjective impulses, rationalized by means of forms, elements, rules, structures and catalogs in search of configurations consistent, expressive and socialitzables.
- The generative geometry becomes productive if it is concerned with creating optimal conditions of production-reproduction conscious ways, listed or not, orderly or random combination, to be applied in after-located expressive objects in a precise and concrete.
- Space-paper, and other areas, which is the primary expression takes place, however, and on another level, it becomes evident projection and synonym of this space-time and, then, on this being becomes us We expression and shadow space next time though.
- Necessarily act in paper space presupposes not have excluded the transcendent aspects of generative geometry.
- The base geometry is generative formal rationalization.
- Sites and geometric objects is generated in this space-symbolic role as expressive forms.
- Apart from other considerations, the forms, which are simple to have load content and significance.
- The forms are randomly chosen to submit to rules, also self-imposed freely defined.
- About a fraction of the space-lattice paper are developed each possible elements of a catalog.
- A catalog contains reproduced the different elements that have been developed for transformation rules and symmetry.
- A catalog description is orderly or not a set number of specific items (closed) or a group of undetermined elements (open).
- Nature is always open and complex belongs to a universal fractal spacetime containing our own perception.
- A catalog is the set of all and each of the formal elements we call modules generated from some grids, forms a basis for generating combinatorial rules, itineraries or any other condition.
- The module is each element of a catalog.
- The catalogs can be defined by a module-level 2D or 3D.
- The configurations of groups of modules may become senior catalogs containing supermòduls more complex and so on.
- The itineraries of the forms within the grid of each module catalog can also be normativitzats.
- A catalog go to the role of space-level aesthetic object, reopened as a result of its combination with other elements involved, and thus, the catalog is subject to new considerations and new determinants, as in the process of inserting the object around.
- The development of a catalog depends on the grid, the formal elements and complexity of these rules are based.
- The grids can be of any polygonal shape that allows tesel·lació space or otherwise, other ways that we do not allow this enclosed space tesel·lació.
- The formal elements can be basically divided into straight or curved contours that define polygonal grid. It would be superfluous to say that part of other elements.
- Straight lines and curves, depending on the combination and proportion in the lattice framework of a set of modular elements, are responsible for giving character to them.
- The rules for carrying configurations loci may affect the grids in the areas of color changes, etc.
- The simple forms are more expressive and more effective expansion of a message.
- The message belongs to the world of aesthetic expression, and this is, in turn, four-dimensional space-time.
- The elements of any catalog or particles are formed by minimal formal elements of visual language. The point, line, contour, direction, size, the light-dark, texture, scale and movement.
- The introduction of metric values to the elements of a list is after the definition of these and presupposes the entry level of exogenous definition of expressive form, in an environment where the elements and particles generate entity object .
Starting point, the first elements of visual language in action.
The starting point expression says it all. The point is the beginning. This starting point we want to play, as well as a reference, the start signal as a unit. ¿Why talk of unity ?. Well, very simple, if you draw a point with a pen on a surface, this small signal we have been calling for some time point, but if you look through a microscope will seem the vastness of the continent. This is allowing us to identify the point with the unit, skip relativity of perception. This allows us to identify the point as a formal entity unitary and determined. The point has character, which depends on the element that has drawn. In the long history of the numbers in the beginning, the first number, the one (1), representing a unit, first, from an idea deeply rooted and sedimented in the spirit of the first humans, also represented the self, subjectivity and absolute solitude before the world, a world of the numbers, which were discovered as a catalog and therefore open to infinite elements. The point is identified with the unit. The point and u are related.
If this point is set in motion saying that describes a line, the line is already an element in the complex conglomeration of elements of visual language. Without going any further, two or more points define a line that we can complete the viewer. Humans between points, we are able, thanks to our imagination, we see outlines suggest various images and figures. Two points create enough tension, according to the proximity of these, to suggest a line defined as what in geometry, call segment. The complexity of the line at point, which is derived from its character is not uniform as it is defined by several factors, by their nature, their gestures, their directionality or geometry. The line can be identified in relation to the number two (2) and returning to the history of numbers, our early ancestors by the two identified with you, the other, who is against you, the continuation of u (1). The lines, if we understand as infinite theoretical level (space-time) are called improper. By the time you leave this space-time, the lines become their own.
The line closed in itself becomes superfluous outline. The sum of lines gives enough complexity to this element of visual language as to allow to define ways that are nothing more complex than larger units capable of suggesting, defining and contain. The complexity we could relate to the number three (3) with them. Historically ancestors gave to three (3) the value of others, those who are outside the couple, and we can see through the remaining waste in the language. Words troop, troupe, Trooper Trupp, come from the three French phonetics three and mass seem enough (troupe, trop). Geometrically, the outline with more simplicity and precision refers to the number 3 is the triangle, and including more monotonous, effective and theorized the equilateral triangle. Beyond the three are infinite, remember that infinite polygon sides or ends out in circumference.
After the first three original numbers we can relate these estates starting polygon contour secondary, which has among its qualities to be the best rationality represents the square.
Defined above, however the three basic contours, which respect the space have different characteristics when their ability to tile space.
The triangle (equilateral) can tile space and contains, in the event that the support on one side, two main lines, horizontal (rest) and tilted 60º (two lines) representing the voltage on imbalance and dynamism, etc. If the apex of the triangle support balance we have the kind of line that I defined above, in the case where the triangle is supported on the vertex position without any balance will have the full range of inclined lines. The triangle has, apart from three sides, three axes of symmetry.
The circle becomes a form where the multi-symmetry leads to a dynamic balance, too, which brings us back to the unit, in this case, a higher unity which expresses the eternal return, the space-time cyclic eternity. The circle can not tile space, is more individualistic outline three basic contours. His is a central symmetry.
The square contains two directions of the space identified as essential if the square is supported on one side. On the one hand, we have the rest horizontally, matter, the horizon, the base and the origin of heights. Moreover, the square contains the vertical direction, the kingdom of balance, the plumb, the direction that I agreed to define as spiritual. The case rests only on the square the square takes airs a vertex of a dynamic figure and unstable. Anyway, the square represents equal strength among its four sides. Contour is a capable tile space to fill it with groups of items above. The square is the final outline of the utilitarian rationalization of space. Egyptians to move his drawings, reticular space, grid. Graphic designers use grids variable or fixed in their computer programs, which are based on two basic directions, horizontal and vertical, when carrying out their projects.
Triangle, circle and square derive the majority of pictograms in the media.
Formal changes.
Generating forms can be carried out in a streamlined, all using different geometric operations both in the plane and in space.

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