UNITY OF OPPOSITES 13-18

This is the third and final installment of our look at Unity Of Opposites as they apply to Transparent Drawing.  The first two installments can be found here and here.

I hope that you have not found this series too boring.  As I stated previously, I have had this prepared for some time, and it is relevant content that I needed to get into the operative definition of Transparent Drawing.

Thirteen
TD:  Solution                                                              RS:  Expression

Representational Spacetime is concerned, primarily, with expression.  While that of course if absolutely fine, in TD, we are not concerned with expression at all.  In fact, the more expressive that a drawing is, even if it is transparent, the greater the chance that the knowledge is occluded.

Fourteen
TD:  Structural                                                            RS:  Likeness

When we represent, the blobs of paint or the line and wash have to have what we call a likeness to what is being represented.  A sheep has to have a likeness to a sheep.  And this representation of likeness eliminates the chance for the depiction of structure.  And indeed, structure is what we are interested in when we draw transparently.  I don’t mean necessarily the structural system of a building or the bone structure of sheep.  I do mean structure as in what comprises the essence of the complete structure.

Fifteen
TD:  Elements                                                              RS:  Relationships

In TD, we draw elements.  We draw the walls, the openings in the walls, how the walls resolve the enclosure, etc.  In RS, we draw tonal relationships.  Because these tones cannot overlap, they have to be next to each other.  And to make the tones distinct from adjacent tones, we give them a relational tone.  So in RS, what is really going on is the application of tonal relationships.

Sixteen
TD:  Objective Truth                                                RS:  Subjective Vision

We spoke in a previous page about drawing closer to the truth.  TD gets us closer to the truth.  Whereas in RS, what gets put on the paper or the canvas is a personal interpretation, or subjective vision, of what they are depicting.

Seventeen
TD:  Construction                                                   RS: Imitation

With TS, the primary task is to imitate, on the paper, what you see.  Granted, it is an interpretative imitation, yet it is imitation just the same.  If the task is to represent a deciduous tree in summer, then green blobs of opaque medium are put on the paper.  Whereas in TD, the primary task is to construct.  We build, if you will, objects on our paper.  Or we might say that as we build the objects in our mind, we document this construction on our papers.  Or vice versa.

Eighteen
TD:  Objects                                                           RS: Spectator

RS places primary importance on the situation of the spectator.  With this understanding, the artist places themselves in the role of the spectator so as to communicate an understanding within the context of a culture.  Whereas in TD, the emphasis is on the form and it gives primary importance to the forms and their relationship to each other.

_______

This is the image that I was looking at when I did my drawing at the top of the page.  My drawing is an overlay, more or less, of the geometry of these images.   Images like this can be found when you type in text like “3D Voroni Diagram” or “Point Cluster Detection.”