Ekphrasis. Transforming Literature to Architecture

ekphrasis

Yaroslavl, 2015

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INTRODUCTION the idea ekphrasis — the method of form research references

CHAPTER 0. RESEARCH text form connecting text and form

CHAPTER 1. TEXT > STRUCTURE algorithm evolution final algorithm

CHAPTER 2. COMPARATIVE ANALYSIS comparison conditions text as a parametrical chart conclusions

CHAPTER 3. STRUCTURE > FORM cloud transformation

CONCLUSION 3

introd

duction

THE IDEA

This research relates to the area of methodology and architectural form making. It studies the possibility of creating a synthesis strategy of architectural form on the basis of interaction of architecture and literature. It is an attempt to reveal an interrelation of two art forms. This basis of the work is made up by the experience of creating the algorithm, as a logical mechanism of converting text into form, which is preceded by architectural theoretical and philosophical research, as well as the review of analogs and the analysis of possible ways of translation realization.

The result of this scientific work is the creation of a machine, which receives some literary text as input data and transforms it into a spatial form.

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EKPHRASIS THE METHOD OF FORM RESEARCH

The word "ekphrasis" stems form the ancient Greek verb ἐκφράζω, that means "I describe, I explain, I point out".

In the Art Studies "ekphrasis" relates to the way of a graphic description of a visual work of art or architecture in the text; in culture, generally, it describes the representation of one art form with the help of another form of art.

This research focuses on architectural ekphrasis which involves the means of expression of sculptural language of architecture for reproduction of literary text.

"The word "ekfrasis" the prefix "ek" shows, has two main meanings. By analogy with a verb έκδιηγέοµαι ("to tell up to the end"), it expresses completeness of "message", "descriptions" or "statements", and on analogies to the word έκτροπή ("conclusion", "deviation", "foreign way"), it designates "an exit from" or "evasion from something"." (R. Hodel: Ekphrasis and statement "demodalization".

Ekphrasis in the Russian literature.

Under Leonid Geller's edition. Moscow 2002. P. 23-30).

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Architectural ekphrasis suggests the usage of complete works, but not their parts, due to the fact that a separately taken part cannot allow to create on objective view about the structure and qualities of composition of the whole complete work.

The method is based on the usage of structural characteristics, inherent to the text, in order to create a spatial form, and a separate part may not posses it to the full extent. So architectural ekphrasis can also be defined as derogation from a habitual method of representation and reading of the text. (booklet pdf page 5, factual 9) "To imitate imitation, to generate recognition not of an object, but the fiction reproducing object, an objectivization: logological ekphrasis is a sphere of literature <...>; The pictures of ekphraseis are antiphenomena, not imitations of nature, but culture by-products: the effects borrowing the enargeia, their"vivacity" only from opportunities of Lagos". (Kassen B. Effekt of a sofistika. M.; SPb, 2000. P. 228, 230).

While creating architectural work on the basis of already existing literary, architectural ekphrasis doesn't create, but reconsiders the

already created. Thus, not the tangible environment of the city, but the cultural environment of society becomes a context for architectural work. And if in the first case architectural work is mainly characterized by ability/desire to support a surrounding situation, to argue with it, or at all to ignore, then in the second case the formal discourse is developed in another aesthetic area, which includes wider common cultural context.

It is necessary to make a specification about the borders and nature of transformation of figurative system of one art by another which is inevitably accompanied by ekphrasis. In our case it is about a literary ekfrazis in structure of architectural works.

It is necessary to recognize that the shifted aesthetic object relating to literature has the discrete nature, and architecture â&#x20AC;&#x201D; continuous diverse. Such ekphrastic relation is reversible or not - it depends on a choice of character of a method of broadcasting translation.

"As we can see, ekphrases assumes "reading of the image, not deprived of examining its additional meanings" because " ekphrases catches the moment of a meeting 9

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of two artists on the border of different types of art" [3:67], therefore ekphrasis is not only a verbal designation of the image, but also the receptive installation on the recreating imagination of the reader, in particular his orientation to perception of implication". (3. Mednis N. E. "Religious ekhprasis" in the Russian literature.//Criticismand semiotics.

Vyp. 10. Novosibirsk, 2006. P. 67).

Allowing to reveal difficult relations of time and space, ekphrasis appears to be a real finding for semiotics as a connecting link between the literary text and the motionless image.

Naturally, researches of interrelations of literature and architecture have been conducted for many years. Further we will consider some of them.

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LIBESKIND'S MACHINES 1985

"By the mid-1980s, the reputation of Daniel Libeskind as a leading avantgarde figure in architecture was rapidly rising. This was based on his work as a teacherâ&#x20AC;&#x201D;he was director and principal teacher at the Cranbrook Academy School of Architecture from 1978 to 1985, establishing it as one of the most creative schools in the worldâ&#x20AC;&#x201D;and on the publication and exhibition of a number of projects that, on their face, seemed to have little to do with architecture. Notable among these were his Memory Machine, Reading Machine, and Writing Machine.

Elaborately constructed and enigmatic in purpose, Libeskind's machines are striking and sumptuous manifestations of ideas that were, at the time he made them, of obsessive interest to academics, critics and avant-gardists in architecture and out. Principal among these was the idea that architecture must be read, that is, understood, in the same way as a written text.

Writing Machine, fragment

The chief structural features of written language, grammar and syntax, which organize the ways words are put 13

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Memory Machine, fragment

together into a coherent, meaningful ensemble, clearly relate to architecture.

Indeed, so traditional a modernist as Mies van der Rohe was fond of speaking of architecture's 'grammar' and declaring that an understanding of it was essential to design. However, when it comes to the meaning of word constructions—texts—it was believed, by the 70s and 80s, by leading linguistic and literary theorists, that written texts do not have a fixed meaning established by what its author intended to say, but rather multiple meanings that readers have to interpret for themselves by using various cultural codes and references. Peter Eisenman and the circle of architects and critics gathered around him, applied this to architecture, with the consequence that the 'meaning' of architecture—symbolically and in terms of human purposes—was in their view not to be found in either the architects' or their clients' intentions. In short, form does not follow any a priori function but has autonomous existence that must, in the end, be 'read' on its own terms. In short, the meaning of architecture is to be found only in architecture itself."

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YSTU 1989

Academic year project "Fairy tale" is developed by students architects of 1 course of the architectural construction faculty in YSTU. The main objective of the project is reconsideration of the idea of literary works by means volume spatial composition.

Andrey Merekin Frédéric Beigbeder, 99 “Francs“

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ALEX DRAGULESCU 2006

Alex Dragulescu is a visual artist, designer and programmer working at the intersection of art and technology.

Spam architecture A series of the images received by the artist with the help of "feeding" to the computer program the contents of his own e-mail, damaged letters, advertising mailings. Images are received by means of identification in the text of various keywords and construction of rhythms and textures on their basis.

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Spam plants Characteristics of bionic structures are defined by texts of spam text messages deciphered with the help of ASCII tables.

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LABLITARCH 2010

Interdisciplinary workshop for students of architectural and literary higher education institutions. Participants investigate interrelations between structure of the literary work and its embodiment in architectural composition. <How many times have we paused while reading a book and had the feeling that we were inside a structure built, knowingly or unknowingly, by the writer?

Not simply the ability to picture in our minds the locations or architectural settings described in the text, but rather the sense of being immersed in a space, a literary space, designed by someone else.

Lablitarch.com

Architectural metaphors are often used in the discussion of literature, as in "the architecture of a novel". In any real architectural project, there are ideas that need to be designed and conveyed, a supporting structure, sequences of spaces, surprises and suspensions, hierarchies of space and function, and so on. In creative writing, many of the challenges seem to be similar. For example, how should different strands of narrative be 23

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intertwined? How can chronology be rearranged in a plot sequence? How is tension expressed? What do certain narrative sequences and omissions convey or mean? How do characters connect?

As Alice Munro said: "A story is not like a road to follow â&#x20AC;Ś it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.">

Katherine Treppendahl James Joyce, â&#x20AC;&#x153;Ulyssesâ&#x20AC;&#x153;

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TEXTEXTURE 2012

The Non-Linear Reading Machine "When we read a text, we normally follow it in quite a linear fashion: from left to right, from top to bottom. Even when we skim articles quickly online, the trajectory is still the same. However, this is not the most efficient method of reading: in the age of hypertext we tend to create our own narratives using the bits and pieces from different sources.

This is an easy task with short Tweets or Facebook posts, but it becomes much more difficult when we're dealing with newspaper articles, books, scientific papers. The amount of information we're exposed to increases from day to day, so there's a challenge of finding the new tools, which would enable us to deal with this overload.

Textexture.com

As a response to this challenge we at Nodus Labs developed a new free online software tool Textexure.com which visualizes any text as a network and enables the user to use this interactive visualization to read through the text in a non-linear fashion. Using the network one can see the most relevant topics inside the text organized as distinctively 27

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colored clusters of nodes, their relationship to one another, and the most influential words inside the text, responsible for topic shifts. This way the user can navigate right into the topic of the text that is the most relevant to them and use the bigger more influential nodes to shift into another subject."

John Lennon and Yoko Ono 1980 interview for Playboy

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CHAPTER 0.

. RESEARCH

TEXT

Concept The text (from lat. textus — "fabric; a texture, communication, a combination") — the human thought recorded on any material carrier; in the general sense — coherent and full sequence of symbols.

There are two main interpretations of the concept "text": "immanent" (expanded, philosophically loaded) and "representative" (more private).

Immanent approach means the relation to the text as to autonomous reality, aiming at identification of its internal structures. Representative is consideration of the text as special form of representation of knowledge about the reality which is external to the text.

In semiotics the concept of the text receives the broadest interpretation: the text is the structure filled with sense, this structure consists of signs. Thus, the text is considered not only verbal, but also nonverbal work: it can be a piece of music, painting work, dance, a theatrical performance, etc., that is everything that is constructed with use of sign systems, despite of their type 32

Kintsel, etc.). Besides, the text is also a set of various subjects which are carrying out sign function.

pound sentence, but not the text.

So, the text consists at least of two sentences.

Structure

From the linguistic point of view, the text is understood as only verbal work. At the same time the verbal text, according to modern representations, it is both a phenomenon of reality, and the way of reflection of reality constructed by means of elements of system of language. Besides, the text represents the main unit of communication, a way of storing and transferring information, form of existence of culture, product of a certain historical era, reflection of mental life of the individual etc.

All this creates bases for plurality of descriptions of the text and for its numerous definitions.

Researchers note: there is still no clear answer to a question whet exactly should be considered the main subject of the linguistic analysis in the text, especially in the literary text.

The text, in own way, consists of a certain quantity of sentences. The sentence, even very complex, cannot be called "a text", because the text can be divided into independent sentences, and parts of the sentence are combined under laws of syntax of a com-

So, the text is divisible structure the form of division of which depends, first of all, on type and dimension of the text. The reference, the telegram, a note, the message can be the minimum text.

Maximum is a novel consisting of several volumes (books) which can be added with a preface (prologue) and a conclusion (epilogue).

The largest unit in the novel is a VOLUME or a BOOK in their terminological values, that is in value of a whole component. Then partitioning goes on the descending line: PART, CHAPTER, SECTION (usually in Arabic numerals in contrast to chapter which is usually designated in Roman), INTERVAL (noted by skipping of several lines), PARAGRAPH, SPU (superphasal unity). We can l call such a partitioning of the text as volume-pragmatical as it considers the volume (size) of part and focusing on the attention of the reader.

Text units are units of the whole, possessing all or the majority of essential signs which characterize 33

possessing all or the majority of essential signs which characterize this whole. Essential signs of the text are, as we know, the thematic, semantic and stylistic unity, a communicative orientation, connectivity, integrity and others.

All these signs, but with different degree of completeness, are attributed to: sentence - the difficult syntactic whole, paragraph and components of the text.

Thus, partitioning of the text on units happens in different levels, in a certain degree independent from each other. Characterizing the text, for example, number of heads, paragraphs or offers, it isn't always possible to make objective judgment about its volume: two different texts numbering identical number of heads, most likely, will have various number of sentences, words, etc. If partitioning of the text on the elements of any certain type can be defined as partitioning levels, the text in itself becomes set of such levels.

Elements of partitioning of the text can be divided into two orders which are conditionally defined as top and lower. Partitionings of the top order are levels of splitting the text into the large composite elements which most often are unique (not repeating) starting with volumes, books, heads and finishing 34

with offers.

Low level particioning are separating a text into utilitarian elements, serving to the author as language tools â&#x20AC;&#x201D; which are words and letters. Such elements are repeating, have the limited set of variations making "library of elements" of the text (the dictionary of work, the used alphabets). Partitionings of the top order form a unique pattern, and partitionings of the lower order â&#x20AC;&#x201D; the repeating pattern. From this position the text shows itself as an order of orders.

Object Considering work (text) as complete, complete and independent object, it is important to state its composite definability as the major characteristic. As appears from definition of the text, it (text) is always the complete statement, the formulated thought. Written becomes a receptacle of the author's statement which is fixed in a character set by means of very tectonic creation of composition formings of dependences of elements with each other in one level and between levels, by means of the composition built by the author.

composition, or otherwise — two types of structuring a work of art: The first type is the primary and substantial internal structure of work called by the term "composition"; The Second is initially formal, external structure of work called by the term "architectonics", which is shown in the principles of division of work into parts from volume to the paragraph.

E. I. Shendels understands the terms "composition" and "architectonics" as the doublets uniting "front elements". "If we addressed to composition (architectonics) of the text — the author writes — that would be possible to reveal <...> a chain of units: the text part the head § (in some types of texts) the paragraph a stanza (in poetry) the offer, a line (in poetry)".

S. A. Kesten considers composition of work and its architectonics as a whole and as a part. The composition, from the specified point of view, consists of two components: internal division of the text, that is thematic construction, and external division — that is very tectonic (formal) construction.

External division of the text happens when partitioning the text on paragraphs. The paragraph, thus, in this structure carries out

architectonic function.

The art literary work gets under definition of the text both from the point of view of linguistics, and from the point of view of cultural science and semiotics: defining it as that, we can approve existence in it of a form, composition and the contents. Thus visible form and architectonic composition are final and definite, and the contents, on the contrary, can have some levels and be treated (to be read) depending on the cultural context and the identity of the reader (perceiving).

That is limits of the contents are non-definable or definable are relative. Thus, a literary work (as the most difficult private case of the literary text) has as an indispensable condition of its definition the contents in a final, definable form. That is, for saving of the contents when broadcasting it is enough to keep characteristics of a form, elements, communications between them.

Within this research texts for further broadcasting into a form are those in which the existence of the semantic contents isn't questioned (articles, classical literary works).

The text from the point of view of 35

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linguistics, cultural science and semiotics is the reality having, inherent only to it, parameters and categories. Within this research it is expedient to allocate only those that help to reveal and characterize structural properties of the text as object, to transfer them to material area and to embody in a form.

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FORM

The form in philosophy is concept, defined correlatively to concepts of the contents and matter. In ratio with the contents, a form is understood as orderliness contents its internal communication and order. In the ratio with a matter, the form is understood as essence, the content of knowledge about reality, which is a unity of a form and matter. At it, spatial form of things is a special case of a form as essence of a thing. The meaning of a form concept is different in various philosophical disciplines, for example, in metaphysics, logic, an esthetics, ethics.

In the field of an architectural discourse the form acts not only in the function of concept (architectural form), but also in functions of category, uniting more concrete concepts such as "small architectural forms", "modern architectural forms" and so on.

As each discipline has own interpretation of the term "form", and this research is conducted on border of several disciplines, there is a need to formulate value of this concept to concretize the direction of the efforts made for object 38

of literature for the purpose of broadcasting it in object of architecture.

Within this research it is pertinently to assume as a basis, the most general definition of a form as figure, an external outline, an image, model, a physical embodiment, as the category describing external manifestations as opposed to the contents.

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CONNECTING TEXT AND FORM

Interdisciplinary literary and architectural broadcasting means implementation of process of transition of one essence in another. Literary text (linear sequence of elements; the composition which is developed in time; the perception occurs in process of reading; private details make up an image) passes into an architectural form (spatial construction in disclosure of an artistic image; the instant perception of all object proceeds only specification of an image on the specification course).

The connection between a source text and a final form is carried out through structural identity and analogy of receptions. Questions of such analogy have to be considered within statement of a separate methodological task: architecture as text/text as architecture.

The translation of the text in an architectural form consists of replacement of elements of the text with form elements; the order of their forming has to remain the same(the text is a set of communications, atomization of text units).

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The order of elements in the text is defined by set of simple and difficult communications and dependences. However, these communications and dependences aren't reduced only to spelling and stylistic rules.

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Susan Sontag (1933â&#x20AC;&#x201C;2004) American writer, literary, art, theatrical, film critic, director of theater and cinema, winner of national and international awards.

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AGAINST INTERPRETATIONS

For the first time art began to need a justification when Platon doubted its value as the phenomena not only not bearing practical advantage, but also not being true. Later Aristotle had to explain that it nevertheless possesses a certain value, in particular, being a type of therapy. Nevertheless, the Greek theory of art as mimesis (imitation of reality) still remained as a basis of modern understanding of art, due to that it still needs protection. Protection insists on preparation, takes "contents" from "form", and then declares "contents" significant, and "form" secondary. "The emphasis on the contents also generates the continuous, never coming to the end interpretation work".

Whatever were the reasons of emergence and total distribution of such approach to perception of works of art, today it leads to the aggressive analysis, a rough deconstruction considered, regardless of that, the author counted on interpretation of the creation or didn't count. The modern hermeneutics which grew on the basis of interpretation of literary texts sees the 43

main task in interpretation of cultural values philosophies. Thus, an interpretation problem, becoming some kind of obsession, feeds the most influential of modern doctrines ready to interpret all observed phenomena, since works of art and finishing with political events and the phenomena of private life. Now, according to Sontag, under the pressure of critics the author is ready voluntary "to build in inside work a clear and unambiguous interpretation", in an opposite case "the critic will only be glad to execute independently this work".

"In the culture already undermined by classical dissonance, an intelligence hypertrophy due to energy and sensual completeness, interpretation is a revenge of intelligence to art".

This time art is compelled to invent protection against an interpretation, expelling the contents in usual sense of the word (where there is no contents, there is nothing to interpret) or doing the contents too obvious that it could be interpreted. However, most often, it means the formal experiments made to the detriment of the contents which not only emphasize differentiation between "form" and "contents" (which, according to Sontag, it is illusory), but also do flight from an interpretation especially noticeable that, perhaps, doesn't do credit to art. Sontag offers other way: to create things, which are so pure and 44

whole, which absorb you by their pressure and frankness, that they can be... only what they are.

machine, which is obviously deprived of ability to interpretation and eternal art "I see it this way".

Sontag urges to pay bigger attention to a form, but warns about the difficulties connected with opportunity to describe them metaphorically: All Greek metaphors for form are all derived from notions of space. This is why we have a more ready vocabulary of forms for the spatial than for the temporal arts.

"Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all." - says Sontag.

"The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means."

Proceeding from it, we in this work try to separate from as interpretation process as much as possible, replacing the person reading the text and making architectural composition, by a 45

PARAMETRICISM

The most suitable tool in the solution of a complex of objectives is the method of parametrical modeling. Parametricism is allocated with the clear and integral theoretical platform formulated in theoretical works of Patrick Schumacher.

Particularly interesting is the method of working with parametrical diagrams, which as a way of infographics, contain information in the curtailed, conditional representation. In the book "The Diagrams of Architecture" professor of the London higher architectural school Mark GarcĂ­a gave definition of such diagrams as intermediary in translation process in a spatial form of selective abstraction and/or a reduction of a concept or a phenomenon. If you choose the simple and clear principle of encoding of information in a form, information put in the chart can be easily read. Schumacher distinguishes two types of diagrams or charts: usual and extraordinary. Unlike usual, the extraordinary chart initially comprises some new quality through which prism the architect can look at the plan. With extraordinary charts you work without resorting to the steady interpretations 46

conducting to predictable results, on the contrary, it is a step to unknown results.

"The chart, being an intermediary mediator between object and the subject, often reflects the object not literally, it isn't realistic, but "transforming" it. This "transformation" is directed on submission of the implicit, hidden characteristics of object which are difficult for revealing in realities". (Shirinyan E.A. About charts) Code conversion of the text into the chart or diagram requires the search of the obvious and simple principle of broadcasting of structure of the text into the chart, the high level of abstraction of which be provided with clear understanding of what is omitted in the image.

In search of such principle, it is expedient to address to the nature, to study and try to apply to a task natural processes of broadcast of information into a form.

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Alexander Ivanovich Oparin (1894 â&#x20AC;&#x201D; 1980) The Soviet biologist and the biochemist who created the theory of emergence of life on Earth from abiotic components.

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PRIMORDIAL SOUP

Coacervation The mechanism is based on a hypothesis of the Soviet biologist Alexander Ivanovich Oparin of process of emergence of life on Earth. According to this hypothesis, in primary broth, molecules of proteins could be turned in "balls", could be integrated, connecting with each other, and connect molecules of water and fats. As it did them steady both to mechanical, and to ultraviolet influence, the turned-out bodies (coacervates) could complicate the structure eventually, attaching everything new portions of substance.

In the simplified look we will apply this process as follows: the role of the elementary connections is presented by the casual dense cloud of points concentrating round the beginning of coordinates at which each point corresponds to an alphabet symbol, and quantity of points equals to quantity of symbols in work. The algorithm consistently connects points symbols according to their serial number in the text, spatial communications, therefore the long confused text "thread" turns 49

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out. This "thread" is stitched through by additional communications between similar elements â&#x20AC;&#x201D; the points identified with the same symbol of the alphabet. All communications between points are characterized by the physical properties established parametrically. Such mechanism provides broadcasting not only between structural communications of the text, but also statistical which are capable to keep information on quantity, situation, frequency of a symbol usage and other accompanying characteristics. As communications turn an amorphous cloud of points into kinetic active object, its total spatial form, firstly, isn't static, and secondly, is critically dependent on the physical characteristics appropriated to these communications.

However, this mechanism even in the most primitive realization requires an impressive volume of mathematical calculations multiplied by quantitative characteristics of the text that as a result, makes research realization of even small works impossible even at the available computing capacities.

Primary broth in "Spore" computer game, 2008

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Stephen Hawking British theoretical physicist who studied the theory of the birth of the world as the result of the Big Bang, as well as the theory of black holes. Proved the need of singularity.

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BIG BANG

The standard cosmological model within which early development of the Universe â&#x20AC;&#x201D; the Theory of the Big Bang is described is taken as a basis of this mechanism option. According to modern representations, the Universe arose from some initial singular state more than 13 billion years ago and since then has been continuously extending and cooling. It is considered that the Explosion itself was preceded by a condition of cosmological singularity when the sizes of the Universe equaled to zero (it was squeezed into a point), density and its temperature were infinitely great.

Having consolidated the theory to the primitive scheme suitable as the scenario of broadcasting the text into a form, it is possible to allocate the following main stages. The first stage is singularity.

Primary points, each of which corresponds to an alphabet symbol, are in one point, at the beginning of coordinates. The second stage is inflation, by analogy with the period of Space Inflation, is characterized by exponential expansion of the Universe, and in our case â&#x20AC;&#x201D; mutual rejection of primary 53

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points with a force (m1), multiple to the Module, as a result of which a "bubble" or a primary cavity appears. The third stage, in terms of character, corresponds to a nucleosynthesis era: under the influence of force (m2) symbols on a sequence in the text unite in syllables, and syllables in words. A symbol, while taking up, duplicates itself (hence appears sequential numbering of identical symbols: the first similar becomes the second, and so on).

Communication between similar symbols, also multiple to the Module, is kept by force (m3).In the following stages the secondary cavities caused by the largest partitioning of the text are formed. As well as in the previous case, connections, which are rich in information, form a kinetically active object with difficult hierarchy from a cloud of points or dots.

Nevertheless, this mechanism, being based on the use of mathematical equivalents of physical interactions between elements which quantity is estimated in thousands even in the smallest literary works, was also unsuitable for realization.

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Francis Crick and James Watson British scientists credited for the discovery of the double helix structure of DNA in 1953.

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PROTEIN BIOSYNTHESIS

Conformation One more mechanism of receiving a spatial form from the text is based on the principles of the structural organization of protein molecules. Any such molecule represents a chain of the alpha amino acids, united by peptide connection, sequence of which at synthesis in live organisms is defined by a genetic code. In most cases the set of the amino acids used at synthesis is limited to twenty standard ones. Besides, each amino acid "is ciphered" in DNA by means of "words" â&#x20AC;&#x201D; codons, consisting of three "letters"( nucleotides) each. As in trigram combinations only 4 bases are used, all 64 codons are possible.

From a practical side this mechanism means the coding of the alphabet in a combination of amino acids, and the text in a combination of these combinations accordingly. The nonexistent "codes" of proteins, created by this methods, are supposed to be used for creation of virtual spatial models of the protein molecules "twisted" according to natural laws of molecular conformation. Such models are created by means of 57

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computing tools like Phyre2 (Protein Homology/Analogy Recognition Engine) which "twist" unknown combinations based on known analogs. As a result, as a spatial structure with connections, it is supposed to receive a nonexistent macromolecule which defines the elements of arrangement of a source text in relations to each other.

However, notwithstanding all the attractiveness of this mechanism, the usage of it also proved inexpedient.

Firstly because of a high level of inaccuracy in work with "nonexistent" proteins (on average, the accuracy of interpretation comprises only 5%), and secondly due to the character of alphabet coding by means of amino acids, that having quite conditional character.

Model simulated in Phyre 2, Bioblender

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Johannes Kepler (1571â&#x20AC;&#x201C;1630) German mathematician, astronomer, mechanic, optician, pioneer of laws of planets movement in the Solar system.

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ORBITS

Celestial mechanics The principles of celestial mechanics, studying celestial motion, and, first of all, behavior of bodies of Solar system — the movement of planets round the Sun, satellites round planets, the movement of comets and other small celestial bodies — become the base of the mechanism of broadcasting the information in spatial model. In celestial mechanics the trajectory of the movement of one celestial body in a gravitational field of another, much more massive, is called as an orbit (for example, planets in the field of a star).

For realization of this mechanism it is enough to take as a basis the most simple circular Kepler orbits in order to distribute with their help focus points of large, average and small components of the text. The place of the Sun, at the beginning of coordinates, from now on is taken by the conditional center of work in the orbits of which the centres of chapters appear, becoming, in turn, the centers of orbits of paragraphs, paragraphs - the centers of orbits of sentences, sentences – words, words – letters accordingly. Thus, not consecu61

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tive communication of its smallest units, and hierarchical structure, the fractal skeleton which is most obviously characterizing a composite form of the text forms the basis of spatial model of the text. This mechanism, in view of its simplicity and mathematical flexibility, is assumed as a basic algorithm.

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CHAPTER 1. TEX

XT > STRUCTURE

ADA 1.2 // TEXTâ&#x20AC;&#x201D;MACHINE

XX.04.2015 Adelaide for the first time opened the book. A.S. Pushkin's story " the Shot" was the first work read by it.

Now Ada reads in three languages, and the speed of its reading already considerably surpasses the human. ADA is a computer program, written in the environment of Grasshopper, capable to transform texts to spatial structure.

Ada's books differ from those familiar to us. She "understands" text files in the *.txt format, in the coding "Unicode". In the similar way the program "learns" languages. In order that ADA started reading, say, in Spanish, the only thing needed is to connect a file with the Spanish alphabet (*.txt, "Unicode", certainly). Just as we look through the book in shop, deliberating "to buy or not to buy", ADA fluently analyzes the structure of the text, estimating how the spatial structure,which turns out from it, will look. From the text it obtains all necessary data i.e. characteristics of future form. However, for management of algorithm it is necessary to define two numerical variables: Module of dimension and Variable of accident. All dimensional characteristics in algorithm 66

are defined by frequency rate to universal coefficient â&#x20AC;&#x201D; to the Module of dimension (God Mod). In other words, if it is necessary to integrate the scale of all total object, it is necessary to increase the one and only entering parameter. The variable of accident (God Seed) helps Adelaide to control randomness. The thing is that computers rely on mathematics for generation of evenly distributed numbers (i.e. casual, but not too much) as real random numbers can be unexpectedly biased, and their sequences uneven. Computers generate the "pseudorandom", allegedly, not repeating sequences.

God Seed is this initial value, which is given out to ADA, from which it receives the first random number.

If the value isn't changed, the sequence of numbers will always repeat.

67

ADA READS

The work of algorithm can be conditionally presented in the form of two stages: the first comprises the analysis and preparation of basic data â&#x20AC;&#x201D; "scrolling", and the second â&#x20AC;&#x201D; consecutive ("human", a letter behind a letter) reading of the text and simultaneous distribution in space of the points corresponding to the read text units. The main actions which are carried out at the first stage are reduced to consecutive splitting of the text on its components, starting with the largest, and parallel to its quantitative analysis, which is being conducted: at each level, whether it be chapters, paragraphs or symbols, the serial and quantitative statistical account, and also assignment to each element of the address according to its hierarchical situation in structure of the text is carried out.

Consequently the addresses allow to approach the geometry elements as to corresponding to concrete structural text units. Information on serial number in the alphabet is also appropriated to symbols (letters). Besides, the first stage includes the generating of numerical indicators of orbits radiuses of points distribution for each level, 68

considering quantitative indices of each element of an appropriate level, and generating of a dimension Module indicator, which is general for everything. The separate block creates the unique seed values for each element defined taking into account the uniform preset God Seed. The second stage represents the block of consistently carried out difficult (indirect) recursions, each of which corresponds to a certain structural level of the text and is carried out until all elements of the text belonging to this level aren't distributed in space in the form of a cloud of points. Each following recursion accepts as initial data previous results , because the points (elements) of the previous level are starting for distribution of points of the following. Interlevel connections form a semblance of a spatial fractal tree â&#x20AC;&#x201D; Fractal Fennel. The logics of this algorithm allows to receive from the linear text â&#x20AC;&#x201D; a cloud of points, structural and dimensional characteristics of which directly depend on the composite organization and quantitative indices of the text.

From one-dimensional to threedimensional. Thus, the generated clouds of points with hierarchical communications, in fact, represent the parametrical charts reflecting structural composition of the text

and signs of an individual manner of the author.

69

70

ADA 1.0

First version of algorithm. The relation of orbits radiuses of points distribution is described by Fibonacci's sequence.

Calculations are made to the level of words. Accident of points distribution of the following level to surfaces of spheres of the previous level depends on one parameter that leads to not evident, "dense" result.

1

Final stage of simulation, fragment

71

OBJECT: А. S. PUS

STAG

SHKIN ”THE SHOT“

GE: 1

Chapters: Indents: Sentences: Words: Letters:

2 / / / /

STAG

GE: 2

Chapters: Indents: Sentences: Words: Letters:

2 56 / / /

STAG

GE: 3

Chapters: Indents: Sentences: Words: Letters:

2 56 271 / /

STAG

GE: 4

Chapters: Indents: Sentences: Words: Letters:

2 56 271 3603 /

80

ADA 1.1

Second version of algorithm. Accident of distribution is influenced by quantitative structure of a component of the text.

Symbols are distributed according to two-dimensional charts (X — a position in the word, Y — a position in the alphabet). There is a Fractal Fennel — connections of elements. Calculations are made to the level of letters. The result is still not evident.

2

Final stage of simulation, fragment

81

OBJECT: А. S. PUS

STAG

SHKIN ”THE SHOT“

GE: 1

Chapters: Indents: Sentences: Words: Letters:

2 / / / /

STAG

GE: 2

Chapters: Indents: Sentences: Words: Letters:

2 56 / / /

STAG

GE: 3

Chapters: Indents: Sentences: Words: Letters:

2 56 271 / /

STAG

GE: 4

Chapters: Indents: Sentences: Words: Letters:

2 56 271 3603 /

STAG

GE: 5

Chapters: Indents: Sentences: Words: Letters:

2 56 271 3603 18 114

92

ADA 1.2

The third version of algorithm considers the volume of chapters at distributing them in space (the volume of work influences cloud volume).

3

The randomness of distribution is influenced not only by quantitative, but also qualitative structure of a component of the text (two different words with identical quantity of symbols look differently). Gives most evident "portrait" of the text.

Final stage of simulation, fragment

93

OBJECT: А. S. PUS

STAG

SHKIN ”THE SHOT“

GE: 1

Chapters: Indents: Sentences: Words: Letters:

2 / / / /

STAG

GE: 2

Chapters: Indents: Sentences: Words: Letters:

2 56 / / /

STAG

GE: 3

Chapters: Indents: Sentences: Words: Letters:

2 56 271 / /

STAG

GE: 4

Chapters: Indents: Sentences: Words: Letters:

2 56 271 3603 /

STAG

GE: 5

Chapters: Indents: Sentences: Words: Letters:

2 56 271 3603 18 114

TEXT AS A PARAMETRICAL CHART

The following illustrations demonstrate the story of A.S.Pushkin "The Shot". It is presented in the form of the parametrical chart received as a result of calculations of the final version of algorithm.

Each "berry" on an illustration corresponds to a concrete letter of work. All of them are connected in words by means of Fractal Fennel. So, at a final fifth stage of simulation the structure of work clearly comes to light. On congestions of letters - berries chapters can be identified. On the periphery of the chart "words-flowers" are easily distinguishable. Words, in turn, connect Fractal Fennel in inflorescences of sentences, and sentences in paragraphs.

So, each element of work has the individual address the length of which depends on the hierarchical level of an element. Just as the postal address of the person begins with an index, the country, the city, the address of each symbol begins with chapter, the paragraph, the sentence and comes to an end with serial number of a letter in 104

the word. Thus, reverse reading becomes possible â&#x20AC;&#x201D; decoding of spatial structure into the text. It opens new opportunities of the use of the mechanism, say, in cryptography.

105

OBJECT: А. S. PUS

«воспоминаний» [Chapter 2, Indent 25, Sentence 3, Letter 13] В О С П О М И Н А Н И Й

{1; 24; 2; 12; 0} {1; 24; 2; 12; 1} {1; 24; 2; 12; 2} {1; 24; 2; 12; 3} {1; 24; 2; 12; 4} {1; 24; 2; 12; 5} {1; 24; 2; 12; 6} {1; 24; 2; 12; 7} {1; 24; 2; 12; 8} {1; 24; 2; 12; 9} {1; 24; 2; 12; 10} {1; 24; 2; 12; 11}

STAGE 5:

SHKIN ”THE SHOT“

LETTERS

TOTAL: 18 114

OBJECT: А. S. PUS

«Этому дому обязан я лучшими минутами жизни и одним из самых тяжелых воспоминаний».

[Chapter 2, Indent 25, Sentence 3] ЭТОМУ ДОМУ ОБЯЗАН Я ЛУЧШИМИ МИНУТАМИ ЖИЗНИ И ОДНИМ ИЗ САМЫХ ТЯЖЕЛЫХ ВОСПОМИНАНИЙ

{1; 24; 2; 0} {1; 24; 2; 1} {1; 24; 2; 2} {1; 24; 2; 3} {1; 24; 2; 4} {1; 24; 2; 5} {1; 24; 2; 6} {1; 24; 2; 7} {1; 24; 2; 8} {1; 24; 2; 9} {1; 24; 2; 10} {1; 24; 2; 11} {1; 24; 2; 12}

STAGE 4

SHKIN ”THE SHOT“

4: WORDS

TOTAL: 3603

OBJECT: А. S. PUS

«Пять лет тому назад я женился.—Первый месяц, the honeymoon, провел я здесь, в этой деревне. Этому дому обязан я лучшими минутами жизни и одним из самых тяжелых воспоминаний».

[Chapter 2, Indent 25] ПЯТЬ <...> ЖЕНИЛСЯ {1; 24; 0} ПЕРВЫЙ <...> ДЕРЕВНЕ {1; 24; 1} ЭТОМУ <...> ВОСПОМИНАНИЙ {1; 24; 2}

STAGE 3: S

SHKIN ”THE SHOT“

SENTENCES

TOTAL: 271

OBJECT: А. S. PUS «Прошло несколько лет, и домашние обстоятельства принудили меня поселиться в бедной деревеньке H ** уезда. <...> Сказывают, что Сильвио, во время возмущения Александра Ипсиланти, предводительствовал area en t s : ind отрядом этеристов и был убит в 2 TER AP сражении под Скулянами».

H C [Chapter 2]

STAGE 2:

SHKIN ”THE SHOT“ ПРОШЛО <...> СНОСНЕЕ В <...> СЛУГА ЛАКЕЙ <...> ДРУГУЮ ВОТ <...> ГРАФУ ДА <...> ОН ИЗРЯДНО <...> ПИСТОЛЕТОВ ПРАВО <...> ШАГАХ КОГДА-НИБУДЬ <...> ПИСТОЛЕТА О <...> ВОДКИ ГРАФ <...> РАЗГОВОРИЛСЯ А <...> ГРАФ ДА <...> СТЕНУ ЭТО <...> ЗВАЛИ СИЛЬВИО <...> СИЯТЕЛЬСТВО СИЛЬВИО <...> СИЛЬВИО КАК <...> ЕГО ЗНАЛ <...> ПРОИСШЕСТВИЯ НЕ <...> ПОВЕСЫ А <...> ПОВЕСЫ НЕТ <...> ЛИ Я <...> ВСТРЕЧИ АХ <...> СЛУШАТЬ НЕТ <...> ОТОМСТИЛ ГРАФ <...> РАССКАЗ ПЯТЬ <...> ВОСПОМИНАНИЙ

INDENTS

{1; 0} {1; 1} {1; 2} {1; 3} {1; 4} {1; 5} {1; 6} {1; 7} {1; 8} {1; 9} {1; 10} {1; 11} {1; 12} {1; 13} {1; 14} {1; 15} {1; 16} {1; 17} {1; 18} {1; 19} {1; 20} {1; 21} {1; 22} {1; 23} {1; 24}

TOTAL: 56

chapter 2. compa

arative analysis

COMPARISON CONDITIONS

To demonstrate the work of algorithm it is necessary to carry out the comparative analysis of the works, various in quantitative and qualitative structure relating to different types of literature using different languages and belonging to different authors.

It should be noted that this comparative analysis was carried out under identical conditions to which, first of all, belong the parameters of the Seed Module.

Consequently, the distinctions in results are entirely caused by distinctions in internal structure of literary texts.

Despite the fact that the logic of algorithm minimizes the bias, it can't exclude it completely. Besides, the choice of works for comparison was limited to their volume as excessively big texts demand existence of the computing capacities not available today.

116

117

ONE AUTORâ&#x20AC;&#x2122;S FICTION

In the first comparison comprises clouds charts of three fiction books of one author A. P. Chekhov: "The Lady with the Dog", "The Man In a Case" and "The Black Monk".

Texts of these works strongly differ from each other on quantitative and qualitative structure that clouds clearly demonstrate.

1

118

Anton Pavlovich Chekhov

The Lady with the Dog chart

The Lady with the Dog cloud Chapters: Indents: Sentences: Words: Unique: Letters:

4 124 314 4894 2085 23 193

The Man In a Case chart

The Man In a Case cloud Chapters: Indents: Sentences: Words: Unique: Letters:

1 88 261 3773 1732 18 243

The Black Monk chart

The Black Monk cloud Chapters: Indents: Sentences: Words: Unique: Letters:

9 205 691 9271 3701 45 330

FICTION

BY VARIOUS AUTHORS

Sergey Donatovich Dovlatov

Nikolai Vasilievich Gogol

122

Alexander Isayevich Soljenitsin

Being approximately similar in volume, texts show in charts the basic distinctions in structure of composition: the dispersed Dovlatov's cloud of "Other life" eloquently allocates each of 29 small chapters, small paragraphs, prevalence of short sentences. The compact cloud of "Overcoat" shows the only chapter rich with texture and consisting of large paragraphs.

"Matryona's Place" represents three-part composition, evenly and surely built by Alexander Isayevich.

2

S. D. Dovlatov Other Life chart

Other Life cloud Chapters: Indents: Sentences: Words: Unique: Letters:

29 442 1170 6302 3649 36 300

N. V. Gogol Overcoat chart

Overcoat cloud Chapters: Indents: Sentences: Words: Unique: Letters:

1 45 439 9971 3697 52 371

А. I. Soljenitsin Matrena’s Place chart

Matrena’s Place cloud Chapters: Indents: Sentences: Words: Unique: Letters:

3 303 871 9981 4284 48 987

LITERARY, PUBLICISTIC AND SCIENTIFIC TEXTS

Ivan Alekseyevich Bunin

Wikipedia

126

Susan Sontag

When comparing literary, scientific and publicistic texts â&#x20AC;&#x201D; the story "Quitrent" of Ivan Alekseevich Bunin, article about DNA from the open encyclopedia and the essay "Against interpretation" Susan Sontag, â&#x20AC;&#x201D; the following things are clearly seen: there is obvious similarity in composition of chart clouds of scientific and publicistic texts and obvious difference of a literary text. By quantity of symbols the literary text and the scientific article from the encyclopedia are almost identical, and Sontag's essay contains symbols one and a half times less. Despite it, the literary text is sharply allocated with scale.

3

I. Đ?. Bunin Quitrent chart

Quitrent cloud Chapters: Indents: Sentences: Words: Unique: Letters:

9 144 517 5541 2763 27 488

Wikipedia DNA chart

DNA cloud Chapters: Indents: Sentences: Words: Unique: Letters:

7 58 249 4075 1839 27 844

S. Sontag Against interpretation chart

Against interpretation cloud Chapters: indents: Sentences: Words: Unique: Letters:

10 44 201 2861 1634 17 747

LITERARY TEXTS IN DIFFERENT LANGUAGES

Comparison of charts of one work in different languages clearly demonstrates almost full identity in structure and subtle distinctions in details on which, however, it is possible to diagnose curious features of languages. Apparently, Russian words are semantically more capacious (the smaller quantity was required). Short words in the English version of work made the most numerous population. At last, the German translation is dominated by long complex words, which can be seen from the interrelation of quantity of letters and words.

4

130

Anton Pavlovich Chekhov

Дама с собачкой диаграмма

Дама с собачкой облако Chapters: Indents: Sentences: Words: Unique: Letters:

4 124 314 4894 2085 23 193

The Lady with the Dog chart

The Lady with the Dog cloud Chapters: Indents: Sentences: Words: Unique: Letters:

4 122 351 6481 1546 27 568

Die Dame mit dem H체ndchen diagramm

Die Dame mit dem H체ndchen wolke Kapitel: Abs채tze: Anerbietung: Wort: Einzigartig: Buchstabe:

4 123 362 6138 1840 30 251

POETRY

Vladimir Semyonovich Vysotsky

Alexander Nikolayevich Vertinsky

134

Iosif Aleksandrovich Brodsky

Poetic works are also obviously characterized by means of clouds charts: here the interrelation between composition of clouds and works is even better traced, it is possible to easlily determine by charts the character of a rhythm (monotonous or fragmentary), and expression. Heart-rending "Krivaya da Nelyogkaya" by Vysotsky embodied in the chart similar to a shot by fraction is sharply allocated against Vertinsky and Brodsky's measured melancholic works. The latter, on the contrary, are similar.

5

V. S. Vysotsky Krivaya da Nelyogkaya chart

Krivaya da Nelyogkaya cloud Chapters: Indents: Sentences: Words: Unique: Letters:

1 17 35 370 270 1719

Đ?. I. Vertinsky Vashi paltsy pahnut ladanom chart

Vashi paltsy pahnut ladanom cloud Chapters: Indents: Sentences: Words: Unique: Letters:

1 8 12 122 52 585

I. Đ?. Brodsky Don't leave your room, don't make a mistake... chart

Don't leave your room, don't make a mistake... cloud Chapters: Indents: Sentences: Words: Unique: Letters:

1 6 24 181 132 876

CONCLUSIONS

In general, the chosen method of creation of spatial parametrical charts clouds on the basis of literary texts gives an idea of their composite, quantitative and qualitative characteristics.

Charts are informative and expressive to reveal, however, signs of author's style perhaps only in case expression of its features bases on a ratio of quantitative characteristics between different levels of partitionings of the text. Apparently it is not possible to reveal signs of the author's style relying on stylistic or semantic features, thus it is excluded at a stage of refusal of interpretation.

138

139

CHAPTER 3. STR

RUCTURE > FORM

Kotorosl embankment, 4

Kotorosl embankment, 2/3, detail

Cheluskintsev square, 5, detail

Cheluskintsev square, 5, detail

Cheluskintsev square, 7, facade fragment

Kotorosl embankment, 2/3, detail

Church of St. Nicholas Chopped

N

COMPOSITIONAL ANALYSIS

significant element active dissonant

Uspensky Cathedral

best point of perception main compositional axis boundary of the quarter

145

2 кж 2 кж

3 кж 2 кж 2 кж 3 кж

2 кн 5 кж

2 кж

N

FUNCTION ANALYSIS

cult object housing domestic objects recreation border of design area pedestrian zones road district level* *only for special transport and persons living in this quarter

Đś

147

ADA CREATES

The way with which the structure received in conditional emptiness takes shape in the real environment, is defined by the architect conducting an orchestra of points and connections. What to place emphasis on and by means of what elements can the main strokes be set to create expressive architectural composition, what characteristic features of structure of work to use? Variability of decisions gives rise to art variety of results.

Architectural transformation, in fact, is a transfer of the cloud which doesn't have neither size, nor any physical properties in a material world, transformation of a sculptural body into an architectural object. The abstract form is scaled and filled with function, that is architecturally comprehended.

In the specific case of a separately taken Yaroslavl yard the Pushkin story shoots chapters in the developed builtin environment and reconstructs the discording building, without doing harm to the historical part. Chapters of "The Shot" are created from the sharp blades-paragraphs hanged on an invisible 148

cloud and ignoring laws of gravitation. Breaks and the sizes of blades - paragraphs are defined by length and distribution in a cloud of sentences. Blades are developed and curved round the centers of chapters.

Having calculated an arrangement of the centers of paragraphs in space, Ada creates independent systems of coordinates in these centers, each of which focuses depending on situation in space concerning all work. The zero XY planes of these systems of coordinates are used by Ada for creation of blades paragraphs by projection of the centers of sentences onto them. These centers create breaks on blades paragraphs, length of each break is determined by ADA determines proceeding from the length of a sentence. As all dimensions of the created geometry are set in the relative sizes depending on auxiliary modules, the architect is given opportunity to manipulate character, force and plastic expressiveness of a geometrical swarm.

149

b

A c

N

facades, Medvedit

facades, kotorosl

facades, medveditskiy ovrag

tskiy ovrag, 1 : 150

embankment, 1 : 150

g, cheluskintsev square 1 : 150

A

A

b

b

c

c

CONCLUSION

The result of work was creation of the logical algorithm (Machine), which receiving on an entrance the literary text, is able to return a spatial form.

That demonstrated the validity of the assumption of possibility of broadcasting the text into a material object. The designed methodology showed a practical justifiability, despite the revealed need to consider some assumptions connected with technological imperfection of the available computing capacities.

The task to create the algorithm broadcasting the text in a form was set for research was completed. However, in a broader sense, the task represented a question of creating the instrument of formal search, the result of which would be a parametrical chart playing a role of form-building structure and capable, nevertheless, to communicate with modern society in clear language of infographics. In spite of the fact that throughout research it was necessary to face some technical restrictions and conventions, in general, work showed a validity of the idea and existence of opportunities for its further development.

162

163