The Original Shape  - The Detail And The Whole

Information and Matter

Swayambuh / Self-emergent / Causa Sui

Ursprung/ A Priori  / 

Origin And History Of Itself

Self-Reference

'N e w'

V-E+F = 

Invariant /

Reliquiae

"The idea of an idea of an idea"

Paper models of  'The Original Shape' embody their own inbuilt 'logic' or 'grammar' which makes them 'jump' into certain positions when nudged or lifted in different ways. Moved by the force of their own shape, matter and gravity, and only initiated by light manual manipulation, they 'jump' and then relax into different shapes - pushing themselves towards equilibrium. The sum of all possible formations is the Grammar of this form - the physical structural rules governing the possible compositions.

There are n-number of ways in which this physical situation (shape) can be realised.

The more ways in which something can happen the higher the entropy.

What is the link between psychic and physical events?

"Changing the fundamental categories of causation from that of local forces to a higher-level concept such as information."

P.Davies

At the centre, the point where the form emerges from and penetrates itself at once, inside and outside reverse.

The borderline between the infinitely large and the infinitely small / the centre of the detail and the whole.

to relinquish, re·lin·quished, re·lin·quish·ing, re·lin·quish·es:

1. To retire from; give up or abandon.

2. To put aside or desist from (something practiced, professed, or intended).

3. To let go; surrender.

4. To cease holding physically; release:

 

Relic, Latin reliquiae, meaning "remains" or "something left behind".

 

The  overriding relevance of the whole: the detail emerges from the whole.

Each carved thing of a spontaneously conceived idea of a form which does not have a (conscious) history of thought, turns out -in matter- to have a logic of form which is implied: the new physical reality of the carved thing emerges as the explication of a history and information which seems implied in the original thought which was originally conceived as new.

 

Decisions must be made in the process of carving, for example the shape and treatment of the edges, which must be derived from the logic of form implied in the original idea. Idea and thing are cause and effect - which in the process of carving exchange perpetually and become indistinguishable.

The original idea transubstantiated into the cubic volume of wood must materialise according to rules and forces that govern matter.

 

Information implied in the original shape is carved as separate pieces of (its own) information: numbers of edges, surfaces and vertices. The Euler Characteristic V-E+F=  , which is closely related to the the Polyhedron Formula defined by Leonard Euler (1707–1783), states that the number of vertices (corners), minus the number of edges, plus the number of (sur-)faces provides a topological invariant and characteristic of surface which does not change under deformation.

The thing is understood as the forces that act on matter, rather than matter on which forces act. To just show enough matter to expose the forces, or: to expose the incomplete notion of matter as if it was possible to exist independent of forces.

...

Erasing of potentials, the observer as which-path detector/information recipient. Seemingly infinite possibilities narrowed down to a balance of what is possible as an idea in matter.

 

Carving as a battle for the dominance of matter and idea. To make the wood do something that matter normally does not do; for the wood to be pushed as far as possible into the realm of the idea and pure form and 'out of' the realm of bodies / to make something which is easily possible in the abstract realm. Matter making the idea impossible, the idea making matter impossible. To bring matter and idea to their  respective limits - a balance of impossibilities. My own physical interference and ability within matter and idea. A measure of the degree to which I cannot reach extreme smallness. To be condemned to only be able to make possible what is possible. Nur das Moegliche moeglich machen koennen. The measurements / the widths of the lines is determined by what is possible in wood.  There is a particular 'slot' in terms of size which I can access determined from two 'sides'. The beam, in this case the width of 8.6cm, is divided at the centre into six bands of a width of 3 mm each with 5 gaps in between, which leaves 1.34cm for each gap. 0.04 cm is not measurable with accuracy in wood, thus not accessible and entirely abstract at the point of measuring. At this stage I can only know that it is there, but I cannot access or touch it. Yet its presence will show up as (in-)accuracy in the shape and context of the whole which is a non-negotiable given, and the sum of each of its smallest parts. Having to apply these measurements on both sides of the beam means that even an inaccuracy of o,o4 mm will show and result in incongruency on the whole.

 

"Nicht wie ich es mir vorgestellt habe/ Not as I imagined it to be."

 

What is the relationship between 'the impossible' in the realm of thought and 'the impossible' in the realm of matter?