{"id":43566,"date":"2023-05-08T07:16:48","date_gmt":"2023-05-08T05:16:48","guid":{"rendered":"https:\/\/a-desk.org\/?p=43566"},"modified":"2023-07-10T10:30:33","modified_gmt":"2023-07-10T08:30:33","slug":"einstein-un-ejercicio-de-composicion-espacial","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/einstein-un-ejercicio-de-composicion-espacial\/","title":{"rendered":"EinStein : Un exercici de composici\u00f3 espacial"},"content":{"rendered":"<div>\n<p><span lang=\"CA\">Aquest text sorgeix del joc que em proposa Aimar P\u00e9rez Gal\u00ed fa unes setmanes: <i>considerar la composici\u00f3 espacial introduint una constricci\u00f3 en les regles pr\u00f2pies del seu llenguatge<\/i>. <\/span><span class=\"rynqvb\"><span lang=\"CA\">La proposta, que va arribar acompanyada de la provocaci\u00f3 <i>nothing personal\u00a0<\/i>de la core\u00f2grafa minimalista Lucinda Childs, ja inclo\u00efa un primer exercici d&#8217;abstracci\u00f3, suggerint una lectura espacial a trav\u00e9s de la sintaxi de les seves relacions geom\u00e8triques.\u00a0<\/span><\/span><span class=\"rynqvb\"><span lang=\"CA\">Per\u00f2 l&#8217;espai \u2026 \u00e9s\u00a0<\/span><\/span><span lang=\"CA\"><i>quite personal. <\/i>Desvincular l&#8217;espai Euclidi\u00e0 (x, y, z) del temps o la mat\u00e8ria i les seves interrelacions, \u00e9s en si mateix un exercici de restricci\u00f3 i de ficci\u00f3 especulativa.<\/span><\/p>\n<\/div>\n<div>\n<p><span lang=\"CA\">\u00c9s complicat posar una limitaci\u00f3 a l&#8217;espai. Les interdepend\u00e8ncies que convergeixen en ell s\u00f3n m\u00faltiples i tan diverses com la mateixa f\u00edsica que el constitueix. Com proposa Karen Barad, f\u00edsica i te\u00f2rica feminista, sumant al fet que l&#8217;espai est\u00e0 \u00edntimament vinculat al temps com desxifraria el f\u00edsic Albert Einstein a principis del s. XX amb la Teoria de la Relativitat, el que anomenem Espai \u00e9s, en realitat, <i>spacetimemattering<\/i><\/span><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_1');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_1');\" ><sup id=\"footnote_plugin_tooltip_43566_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_1\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Barad, Karen. (2007). <i>Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning<\/i>. Durham, North Carolina: Duke University Press.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><i><\/i><span lang=\"CA\">(espaitempsmat\u00e8ria). L&#8217;espai no est\u00e0 desvinculat del temps, tampoc de la mat\u00e8ria. Per aix\u00f2, en parlar d&#8217;Espai parlem tamb\u00e9 de Temps i Mat\u00e8ria. Quan parlem de Temps, en ell s&#8217;entrellacen Mat\u00e8ria i Espai. Quan parlem de Mat\u00e8ria, aquesta \u00e9s Temps i Espai. L&#8217;espai \u00e9s emergent, un sistema que no pot reduir-se a les seves parts sense desmembrar el tot.<\/span><\/p>\n<\/div>\n<div>\n<div><a title=\"\" href=\"applewebdata:\/\/BA633210-5E83-4C57-8632-78C7CB7654DA#_ftnref1\" name=\"_ftn1\"><\/a><\/div>\n<\/div>\n<div id=\"attachment_43069\" style=\"width: 442px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43069\" decoding=\"async\" class=\"wp-image-43069 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/spacetimecurve.jpg\" alt=\"\" width=\"432\" height=\"251\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/spacetimecurve.jpg 432w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/spacetimecurve-312x182.jpg 312w\" sizes=\"(max-width: 432px) 100vw, 432px\" \/><p id=\"caption-attachment-43069\" class=\"wp-caption-text\">Corba espaitemps<\/p><\/div>\n<div>\n<p>En compondre espai, no sols intervenen els eixos Euclidians (x, y, z) o cossos geom\u00e8trics (punt, l\u00ednia, pla, volum), sin\u00f3 totes aquelles relacions, criatures, part\u00edcules, esdeveniments, materials, pol\u00edtiques i mat\u00e8ria que el componen, siguin atmosf\u00e8riques, biol\u00f2giques, geol\u00f2giques, h\u00eddriques, qu\u00e0ntiques, qu\u00edmiques o geom\u00e8triques (i me\u2019n deixo moltes m\u00e9s). De fet, en posar una limitaci\u00f3 o una tra\u00e7a a l&#8217;espai \u00e9s quan es fan visibles totes les pol\u00edtiques, friccions, interdepend\u00e8ncies i ideologies que conviuen i convergeixen en ell. Sovint es desvincula la geometria, o la matem\u00e0tica, de construccions pol\u00edtiques o ideol\u00f2giques, per\u00f2 fins i tot aquestes porten en la seva estructura inscripcions concretes dissenyades i elaborades en un espaitemps concret, amb les seves decisions, obliteracions i interessos espec\u00edfics.<\/p>\n<p>En quant a la composici\u00f3 d\u2019arquitectures, simplement la for\u00e7a de la gravetat o la qu\u00edmica dels materials ja s\u00f3n restriccions determinants per al seu disseny. Aix\u00ed com la petjada que deixa el proc\u00e9s i futur de qualsevol construcci\u00f3, sigui espacial, temporal, social o ecol\u00f2gica, i les interrelacions entre els habitants<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_2');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_2');\" ><sup id=\"footnote_plugin_tooltip_43566_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_2\" class=\"footnote_tooltip\">Interrelacions m\u00faltiples entre habitants m\u00faltiples, humanes, m\u00e9s que humanes, electromagn\u00e8tiques (com la radiaci\u00f3 solar) o incl\u00fas amb l&#8217;aigua que surt de l&#8217;aixeta connectada a una&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> que acollir\u00e0 aquesta arquitectura.<\/p>\n<p>L&#8217;arquitectura \u00e9s creadora de restriccions i tamb\u00e9 de possibilitats. Tra\u00e7ar elements com un mur, una porta o una finestra, aparentment innocus com a figures geom\u00e8triques en el paper o la pantalla de l\u2019ordinador, s\u00f3n decisions que produeixen un efecte durador en la mat\u00e8ria. Des del grafit en el paper o la l\u00ednia de bits de l&#8217;ordinador, es delinea una futura composici\u00f3 tangible que produir\u00e0 una cadena d&#8217;esdeveniments, des que es dibuixa fins que es materialitza i se sost\u00e9 en el temps. Aquestes l\u00ednies, fins i tot sent simplement tra\u00e7os fets en un pla, com per exemple en la pel\u00b7l\u00edcula Dogvillede Lars von Trier o les delineacions en una cal\u00e7ada, ja tenen els seus efectes en el moviment, les restriccions i les relacions que es desenvolupen en ell.<\/p>\n<p>Dibuixar una l\u00ednia ja \u00e9s un acte que <em>per<\/em>-forma i <em>pre<\/em>-forma les futures relacions i exclusions en el <em>spacetimemattering\u00a0<\/em>en el que estem enredades. L&#8217;etimologia de la paraula <em>grafia<\/em>, d&#8217;origen grec i tradu\u00efble com a \u2018escriptura\u2019, significa inscriure en terra\/fang una tra\u00e7a que per sempre canvia l&#8217;estat d&#8217;aquesta mat\u00e8ria, sigui una l\u00ednia, sigui llenguatge, o una divisi\u00f3 abstracta\/administrativa entre terres. Geografia, cal\u00b7ligrafia, cartografia, ortografia, escenografia, coreografia, fonografia, musicografia. El dibuix en arquitectura \u00e9s una composici\u00f3 espaciotemporal, com pot ser-ho una partitura musical o l&#8217;escriptura, amb els seus propis codis, que a m\u00e9s, com tots, est\u00e0 inscrit amb les seves pr\u00f2pies regles i restriccions. En dibuixar una l\u00ednia, s&#8217;acumulen en ella mat\u00e8ria i temps en un present dens<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_3');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_3');\" ><sup id=\"footnote_plugin_tooltip_43566_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_3\" class=\"footnote_tooltip\">Haraway, Donna. (2016). <em>Staying with the trouble. Making Kin in the<\/em><em>Chthulucene<\/em>. Durham: Duke University Press.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, un passat modificat des d&#8217;un present que projecta un futur i el transforma. Una temporalitat dilatada, que es desenvolupa en el temps, per\u00f2 que no \u00e9s progressiva com una fletxa ininterrompuda cap al futur, sin\u00f3 que acumula esdeveniments passats i futurs en aquest acte present degrafiar.<\/p>\n<p>Durant la carrera d&#8217;arquitectura rebem diversos <em>slogans\u00a0<\/em>de restricci\u00f3: \u2018Form follows function\u2019 (Louis Sullivan), \u2018Less is more\u2019 (Mies van der Rohe), \u2018Limitation makes the creative mind inventive\u2019 (Walter Gropius), \u2018Ornament and Crime\u2019 (Adolf Loos), \u2018Firmitas, utilitas, and venustas\u2019 (Vitruvi). I tamb\u00e9 des de les eines de disseny, com pot ser el Neufert Architect\u2019s Data, que estandarditza i indica les mesures \u00f2ptimes del disseny espacial per al seu \u00fas, i en el qual m\u00e0gicament tamb\u00e9 els cossos s&#8217;intercanvien delimitant els usos pre-definits d&#8217;aquest espai<sup><a href=\"applewebdata:\/\/E70506D4-AB85-4750-9CDD-B8F482DC6160#_ftn3\" name=\"_ftnref3\"><\/a><\/sup><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_4');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_4');\" ><sup id=\"footnote_plugin_tooltip_43566_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_4\" class=\"footnote_tooltip\">A m\u00e9s, l\u2019Antropometria, la ci\u00e8ncia per a l&#8217;estandarditzaci\u00f3 dels cossos utilitzada en el disseny dels espais, t\u00e9 el seu origen en les ci\u00e8ncies criminol\u00f2giques iniciades en el sXIX,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>:<a href=\"applewebdata:\/\/E70506D4-AB85-4750-9CDD-B8F482DC6160#_ftnref1\" name=\"_ftn1\"><\/a><a href=\"applewebdata:\/\/5A7CE98C-61B7-407B-9F1B-65AE99813277#_ftn2\" name=\"_ftnref2\"><\/a><a href=\"applewebdata:\/\/5A7CE98C-61B7-407B-9F1B-65AE99813277#_ftnref2\" name=\"_ftn2\"><\/a><\/p>\n<\/div>\n<div id=\"attachment_43066\" style=\"width: 1014px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43066\" decoding=\"async\" class=\"wp-image-43066 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Neuferts-bathroom.jpg\" alt=\"\" width=\"1004\" height=\"244\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Neuferts-bathroom.jpg 1004w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Neuferts-bathroom-595x145.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Neuferts-bathroom-768x187.jpg 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\" \/><p id=\"caption-attachment-43066\" class=\"wp-caption-text\">Neufert Architects&#8217;Data. Mides de la cambra de bany<\/p><\/div>\n<div>\n<div>\n<p><span lang=\"CA\">Al voltant dels anys seixanta, coincidint amb el moviment minimalista nord-americ\u00e0, l&#8217;arquitecte John Hejduk, va proposar el Nine Square Problem, moment tamb\u00e9 en el qual George Perec s&#8217;incorporava al grup Oulipo, o Lucinda Childs comen\u00e7ava el seu inter\u00e8s en la creaci\u00f3 de coreografies amb patrons espacials geom\u00e8trics. Amb el Nine Square Problem, Hejduk va dissenyar un exercici pedag\u00f2gic introductori per als seus alumnes de les escoles d&#8217;arquitectura nord-americanes, en el qual abstreia l&#8217;arquitectura a un diagrama i als seus elements sint\u00e0ctics per a centrar-la en les relacions espacials entre punts i l\u00ednies, pilars i murs, desvinculant-la de les relacions que emergeixen a trav\u00e9s de les seves necessitats de programa i usos.\u00a0 <\/span><\/p>\n<\/div>\n<\/div>\n<div id=\"attachment_43054\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43054\" decoding=\"async\" class=\"wp-image-43054 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage-scaled-e1681304504101.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage-scaled-e1681304504101.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage-scaled-e1681304504101-595x397.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage-scaled-e1681304504101-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-43054\" class=\"wp-caption-text\">\u2018The Nine Square Problem\u2019, John Hejduk (1954-1963-1985). Dibuix conceptual amb notes.\u00a0John Hejduk fonds Collection Centre Canadien d&#8217;Architecture\/ Canadian Centre for Architecture, Montr\u00e9al<\/p><\/div>\n<div id=\"attachment_43057\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43057\" decoding=\"async\" class=\"wp-image-43057 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage1-scaled-e1681304468625.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage1-scaled-e1681304468625.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage1-scaled-e1681304468625-595x397.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Collage1-scaled-e1681304468625-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-43057\" class=\"wp-caption-text\">\u2018The Nine Square Problem\u2019, John Hejduk (1954-1963-1985). Dibuix conceptual amb notes.\u00a0John Hejduk fonds Collection Centre Canadien d&#8217;Architecture\/ Canadian Centre for Architecture, Montr\u00e9al<\/p><\/div>\n<div>\n<div>\n<p><span lang=\"CA\">A trav\u00e9s d\u2019aquest exercici, conceptualment af\u00ed al pensament cient\u00edfic i a les eines ontoepistemol\u00f2giques occidentals de separaci\u00f3 i diferenciaci\u00f3 i l&#8217;an\u00e0lisi per parts, es pretenia que els alumnes oblidessin i s\u2019alliberessin de les preconcepcions culturals i personals amb les quals arribaven a la universitat d&#8217;arquitectura i aprenguessin a dissenyar i compondre espai amb, i a partir de, les seves relacions geom\u00e8triques sobre una quadr\u00edcula en un pla uniforme, que es considerava el llenguatge propi de la composici\u00f3 espacial.<\/span><\/p>\n<\/div>\n<div>\n<p><span lang=\"CA\">De totes maneres Hejduk, despr\u00e9s dels seus exercicis de geometria, desenvolupa projectes com Victims, que va descriure com \u2018una construcci\u00f3 de temps\u2019. En aquests projectes va treballar amb una altra mena de restricci\u00f3 i \u00e9s, precisament, el vincle indissociable entre geometria, la vida que acull i el lloc en el qual es desplega, dissenyant espais per a formes concretes d&#8217;habitar com \u2018La Casa del Su\u00efcida\u2019 o \u2018La Casa per a la Mare del Su\u00efcida\u2019. <\/span><\/p>\n<\/div>\n<\/div>\n<div id=\"attachment_43072\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43072\" decoding=\"async\" class=\"wp-image-43072 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Victims-John-Hejduk-scaled-e1681304853357.jpg\" alt=\"\" width=\"1000\" height=\"625\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Victims-John-Hejduk-scaled-e1681304853357.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Victims-John-Hejduk-scaled-e1681304853357-595x372.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/Victims-John-Hejduk-scaled-e1681304853357-768x480.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-43072\" class=\"wp-caption-text\">\u2018Victims\u2019, John Hejduk . AA publication 1986<\/p><\/div>\n<div>\n<p><span lang=\"CA\">Les restriccions i consideracions espacials solen anar concordes amb el seu temps. Crisis de materials, crisis socials, crisis ecol\u00f2giques, fins i tot l&#8217;\u00e8poca delirant dels\u00a0<i>Starchitects\u00a0<\/i>en qu\u00e8 les possibilitats introdu\u00efdes pels programes de disseny digitals i la riquesa desigualment repartida van donar i continuen donant lloc a extravag\u00e0ncies innecess\u00e0ries. I el temps, la perdurabilitat, \u00e9s una condici\u00f3 fonamental de l&#8217;arquitectura, tamb\u00e9 de l\u2019escriptura o la m\u00fasica, les traces de les quals romanen com a tecnof\u00f2ssils durant generacions.<\/span><\/p>\n<\/div>\n<div>\n<p><span lang=\"CA\">Vists els conflictes de la composici\u00f3 espacial en arquitectura, per al joc de restricci\u00f3 geom\u00e8trica m&#8217;agradaria proposar els patrons aperi\u00f2dics<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_5');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_5');\" ><sup id=\"footnote_plugin_tooltip_43566_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_5\" class=\"footnote_tooltip\">Aquestes estructures s\u00f3n importants per a la Ci\u00e8ncia dels Materials. Per exemple, per a entendre els Quasicristalls, emprats en el desenvolupament d\u2019energies sostenibles i que a difer\u00e8ncia dels&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_5');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u00a0<\/span><span lang=\"CA\">buscats per les matem\u00e0tiques. S\u00f3n formes que <i>poden cobrir superf\u00edcies infinites sense que els patrons creats es repeteixin peri\u00f2dicament<\/i>.<\/span><\/p>\n<\/div>\n<div>\n<p><span lang=\"CA\">L\u2019 aficionat a les formes (tal com ell es descriu) David Smith<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_6');\" onkeypress=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_6');\" ><sup id=\"footnote_plugin_tooltip_43566_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_43566_1_6\" class=\"footnote_tooltip\">David Smith, en veure que podia haver trobat l\u2019EinStein, es va posar en contacte amb Craig S. Kaplan, professor associat de ci\u00e8ncia computacional en la Universitat de Waterloo al Canad\u00e0 i m\u00e9s&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_43566_1('footnote_plugin_reference_43566_1_6');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_43566_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_43566_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span><span lang=\"CA\">, va trobar recentment el patr\u00f3 aperi\u00f2dic buscat durant anys que es resol amb una sola pe\u00e7a, la EinStein (que malgrat compartir nom amb el f\u00edsic te\u00f2ric Albert Einstein, que apareix a l\u2019inici d\u2019aquest relat, en aquest cas significa \u2018una pedra\u2019).<\/span><\/p>\n<\/div>\n<div id=\"attachment_43063\" style=\"width: 491px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43063\" decoding=\"async\" class=\"wp-image-43063 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/EinStein-e1681303389817.jpg\" alt=\"\" width=\"481\" height=\"383\" \/><p id=\"caption-attachment-43063\" class=\"wp-caption-text\">EinStein<\/p><\/div>\n<div>\n<div>\n<p><span lang=\"CA\">Aquest contorn poligonal de 13 costats genera un patr\u00f3 aperi\u00f2dic, la qual cosa implica que mai repeteix una formaci\u00f3, sense importar quan s&#8217;estengui en espai i temps, creant l\u2019aperiodicitat simplement per la seva geometria.<\/span><\/p>\n<\/div>\n<\/div>\n<div id=\"attachment_43060\" style=\"width: 740px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-43060\" decoding=\"async\" class=\"wp-image-43060 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/EinStein-compuesto.jpg\" alt=\"\" width=\"730\" height=\"448\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/EinStein-compuesto.jpg 730w, https:\/\/a-desk.org\/wp-content\/uploads\/2023\/05\/EinStein-compuesto-595x365.jpg 595w\" sizes=\"(max-width: 730px) 100vw, 730px\" \/><p id=\"caption-attachment-43060\" class=\"wp-caption-text\">Mon\u00f2til aperi\u00f2dic. \u00a9 Smith et al. \/ arXiv 2023<\/p><\/div>\n<div>\n<div>\n<p><span lang=\"CA\">Es podria pensar la EinStein com una forma de composici\u00f3 espacial geom\u00e8trica bidimensional. Un patr\u00f3 que deixa de ser patr\u00f3 en anar agregant peces, i que en poder articular-se fins a l&#8217;infinit sense repetir el patr\u00f3, incorpora la variaci\u00f3 tamb\u00e9 en el temps ja que possibilitaria el moviment per una geometria no est\u00e0tica, no sim\u00e8trica i aperi\u00f2dica. Un patr\u00f3 per a un moviment que mai es repeteix.<\/span><\/p>\n<\/div>\n<div>\n<p><span lang=\"CA\">Ara et toca a tu, Aimar, potser provar la EinStein en una composici\u00f3 coreogr\u00e0fica, i seguir el joc.<\/span><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<p>Totes les il\u00b7lustracions procedents del Canadian Centre for Architecture (CCA), Montreal, disponibles <a href=\"https:\/\/www.cca.qc.ca\/en\/archives\/381969\/john-hejduk-fonds\/403639\/professional-work\/406015\/the-nine-square-problem\" target=\"_blank\" rel=\"noopener\">aqu\u00ed.<\/a><\/p>\n<p><a href=\"applewebdata:\/\/E50853F4-004D-4AEA-8D9D-A5F3071679FA#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_43566_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_43566_1();\">[<a id=\"footnote_reference_container_collapse_button_43566_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_43566_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_1');\"><a id=\"footnote_plugin_reference_43566_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Barad, Karen. (2007). <i>Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning<\/i>. Durham, North Carolina: Duke University Press.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_2');\"><a id=\"footnote_plugin_reference_43566_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Interrelacions m\u00faltiples entre habitants m\u00faltiples, humanes, m\u00e9s que humanes, electromagn\u00e8tiques (com la radiaci\u00f3 solar) o incl\u00fas amb l&#8217;aigua que surt de l&#8217;aixeta connectada a una infraestructura que est\u00e0 connectada a altres arquitectures i infraestructures, amb les seves pr\u00f2pies regulacions i protocols.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_3');\"><a id=\"footnote_plugin_reference_43566_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Haraway, Donna. (2016). <em>Staying with the trouble. Making Kin in the<\/em><em>Chthulucene<\/em>. Durham: Duke University Press.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_4');\"><a id=\"footnote_plugin_reference_43566_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">A m\u00e9s, l\u2019Antropometria, la ci\u00e8ncia per a l&#8217;estandarditzaci\u00f3 dels cossos utilitzada en el disseny dels espais, t\u00e9 el seu origen en les ci\u00e8ncies criminol\u00f2giques iniciades en el sXIX, diferenciant el cos abjecte del cos \u2018normal\u2019. Veure Blanca Pujals, 2016, \u2018Bodily cartographies. Pathologizing the body and the city\u2019. The Funambulist Magazine N\u00ba7 on \u2018Health Struggles\u2019. Disponible a <a href=\"https:\/\/www.baued.es\/uploads\/media\/default\/0001\/06\/dd0e4464e3b13fc94c5012505a4c5fd7a684e7b9.pdf\" target=\"_blank\" rel=\"noopener\">Design as Problem-Making. Barcelona: BAU Ediciones, pp. 15-26<\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_5');\"><a id=\"footnote_plugin_reference_43566_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Aquestes estructures s\u00f3n importants per a la Ci\u00e8ncia dels Materials. Per exemple, per a entendre els Quasicristalls, emprats en el desenvolupament d\u2019energies sostenibles i que a difer\u00e8ncia dels seus parents \u2018nobles\u2019 els cristalls, on els \u00e0toms s\u2019organitzen de manera sim\u00e8trica en formes que es repeteixen indefinidament, en el cas dels Quasicristalls la seva estructura est\u00e0 ordenada per\u00f2 de forma no peri\u00f2dica.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_43566_1('footnote_plugin_tooltip_43566_1_6');\"><a id=\"footnote_plugin_reference_43566_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">David Smith, en veure que podia haver trobat l\u2019EinStein, es va posar en contacte amb Craig S. Kaplan, professor associat de ci\u00e8ncia computacional en la Universitat de Waterloo al Canad\u00e0 i m\u00e9s tard amb el Dr. Chaim Goodman-Strauss, un matem\u00e0tic de la Universitat d\u2019Arkansas, i el Dr. Joseph Myers, desenvolupador de softwarea Cambridge Anglaterra, i el passat 20 de mar\u00e7 van publicar conjuntament l\u2019article &#8216;An aperiodic monotile&#8217;.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_43566_1() { jQuery('#footnote_references_container_43566_1').show(); jQuery('#footnote_reference_container_collapse_button_43566_1').text('\u2212'); } function footnote_collapse_reference_container_43566_1() { jQuery('#footnote_references_container_43566_1').hide(); jQuery('#footnote_reference_container_collapse_button_43566_1').text('+'); } function footnote_expand_collapse_reference_container_43566_1() { if (jQuery('#footnote_references_container_43566_1').is(':hidden')) { footnote_expand_reference_container_43566_1(); } else { footnote_collapse_reference_container_43566_1(); } } function footnote_moveToReference_43566_1(p_str_TargetID) { footnote_expand_reference_container_43566_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_43566_1(p_str_TargetID) { footnote_expand_reference_container_43566_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>Aquest text sorgeix del joc que em proposa Aimar P\u00e9rez Gal\u00ed fa unes setmanes: considerar la composici\u00f3 espacial introduint una constricci\u00f3 en les regles pr\u00f2pies del seu llenguatge. La proposta,&#8230;<\/p>\n","protected":false},"author":2816,"featured_media":43061,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6312],"tags":[],"coauthors":[6670],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>EinStein : Un ejercicio de composici\u00f3n espacial de Blanca Pujals<\/title>\n<meta name=\"description\" content=\"EinStein : Un ejercicio de composici\u00f3n espacial de Blanca Pujals dentro de &quot;La 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