The Logos of format

Abstract

The signifying totality of a painting, fresco or even a photograph presupposes the integration of a set of different yet common spaces. Once we have defined the nature of the relationships that articulate visible space of any material support and the structured invisible field, by rectangular hypothesis, of a format that specifies the relationship of its sides, we take on the description of the “representing space” of three works separated in time and space and come from aesthetics as different as possible.

The operations that assume the emergence of the format field underlying the representing space depend on a “natural geometry” and not Euclidean. Euclidean geometry and perceptive geometry are relatable with two different logics, binary and ternary, as the second admits, along with the relations of identity and alterity, that of proximity. If one supports itself in the measurement, the other presupposes weighing operations, from which effects of sense depend (like “ascending and light” or “descending and heavy”) of an impressing nature.