ABSTRACT

‘Ai Bacon’ research focuses on the relationship between Autonomous Form in Architecture and paintings of artist Francis Bacon in order to reinvent Realism through the concept of Allusion[1]. Nine key terms of Autonomous Form[2], of Object Oriented Ontology[3] and Speculative Realism[4] are defined, in parallel nine Francis Bacon paintings through his suggestion to reinvent Realism[5]. It is a journey of thought relating nine (9) Real-istic Objects[6] key terms[7] with nine (9) Sensual Objects selected paintings of Francis Bacon as the way to approach a new Reality. The proposal of this paper is to generate a diagrammatic Abstract Machine of nine (9) Quadruple objects, elements and traits of Francis Bacon’s work that generate new Species of Objects connected through allusion. This relation through allusion[8] is the way to approach Reality and reinvent Weird Realism[9].

The nine pairs formed through this study are the nine Quadruple[10] Objects[11] of Real architectural entities and sensual objects generated to study a wider applied model. This model operates as an Abstract Machine[12], a Diagram of nine Quadruple Objects which is a research tool for reinventing any potential weird Realism[13]. This model of nine meta-Objects uses artificial intelligence techniques and processes that can be applied to any Creator’s work in order to extract its quadruple[14] elements and approach any work or thinking as an autonomous Realistic Object far from is sensual qualities.

The Diagram: ABSTRACT MACHINE of nine (9) Quadruple Objects:

  1. Pair 1: Generic Form in Autonomous Form (Real Object) – Isolated Figures of Francis Bacon (Sensual Object)

  2. Pair 2: Real Fact (RO) in Object Oriented Ontology– Matters of Fact of F.B.(SO)

  3. Pair 3: Scale in Architectural thinking (RO) – Traits of F.B. (SO)

  4. Pair 4: Architectural Triptych in Autonomous Form (RO) – Francis Bacon’s Triptyches (SO)

  5. Pair 5: Formal behavior in Autonomous Form (RO) - Formal Figures in F.B. (SO)

  6. Pair 6: Allusion in Object Oriented Ontology (RO) - Chimera Allusion in F.B. (SO)

  7. Pair 7: Diagram as Abstract Machine in Architecture (RO) - multiple Realities through Allusions (SO)

  8. Pair 8: Mutated Species in Formal exploration (RO) - New Speciation in F.B. (SO)

  9. Pair 9: Unfamiliar Affekt in Formal Aesthetics (RO) - Weird Realism in F.B. (SO)

1. Introduction

This research -called ‘Ai Bacon’- focuses on the relationship between Autonomous Form in Architecture and the work of painter Francis Bacon in order to reinvent Realism through Allusion[15] -as a tool to approach Reality-. Autonomous Form is approached under the notion of Object Oriented Ontology[16], a philosophical perspective primarily associated with Speculative Realism[17] in Philosophy. In parallel the work of Francis Bacon is revealed as the need to reinvent Realism[18]. To reach these interdisciplinary connections a journey of thought commences to relate nine (9) Real Objects[19] -meaning nine Concepts that redefine Autonomous Form within the framework of Object Oriented Ontology [OOO]- with nine (9) Sensual Objects meaning nine selected paintings of Francis Bacon.

The outcome of this study is to generate an Abstract Machine of Objects, elements and traits from Francis Bacon’s work -in this case- where the new Species are related through allusion in order to redefine a new weird Realism[20]. This Abstract machine can be diagrammatically applied to any architectural or artistic work.

 

2. Object Oriented Ontology – Formal Aesthetics

Graham Harman invents the term ‘Weird Realism’ supporting in some sense the idea of what we call ‘Weird’. It is about the strangeness in Reality that is not projected onto Reality by us. It is already there by dint of being real. Object Oriented Ontology [OOO] refers to the ‘weird’ trying to bridge the gap between Reality and its clear statements. In Object Oriented Ontology [OOO] objects relate to each other indirectly. There is a difference between objects and their relationships. We conceive objects as nothing more than a series of qualities and properties

focusing on ‘the essence of the object’. The terminology of Object Oriented Ontology [OOO] refers to two axes of difference such as Real versus Sensual and Object versus Quality. The diagram of Graham Harman creates dualities between real and sensual objects with real and sensual qualities framing the idea of a quadrable object.

At this point a question is raised: ‘Is there an Object Oriented Architecture?’. David Ruy on ‘Returning to Strange Objects’, Tom Wiscombe on ‘Discreetness, Hatch, Log’ and Marc Cage on ‘Killing Simplicity’ come to the conclusion that architectural proposal for Object Oriented Ontology [OOO] is to imagine that Architecture can give hints and allusions with a deeper alternative view of Reality. But Art does not give direct knowledge of Reality. Relations between objects take place in the form of allusion[21]. The allusion is recognized with aesthetic results. Herein lies the importance of Aesthetics in Object Oriented Ontology [OOO]. There are many ways to gain indirect access to the real through allusion, or reference. How love speech works is composed of hints, insinuations and allusions rather than statements and clear sentences. Just like jokes or magic tricks are easily broken when each step is explained.

The recommended way of communication is to imply, to hint at the existence of an object without replacing it with a literal description of its properties. Something between scientific knowledge on the one hand and philosophical artistic knowledge on the other.

Given that Object Oriented Ontology [OOO] is itself a theory of autonomous objects and naturally endorses the formalist view that a work of art is a self-contained unit, at this point we are led to the concept of Aesthetic Formalism. Where the work of Art is independent and autonomous and should be approached in a spirit of dispassionate and independent thinking. Realism is somehow strange; it is about the ‘weird’ that is not projected onto Reality by us. Realism is “already there” as a result of being real. And so, it’s a kind of Realism that doesn’t have common sense. To the horror of Francis Bacon, his world is inhabited by objects, and they are objects precisely in the logic and sense of the Object-Oriented Ontology [OOO] in which it is impossible to perceive or even to describe by the normal mechanism of human intelligence.

In 2018 Francis Bacon exhibition took place at Pompidou. Francis Bacon’s painting functions diagrammatically as an abstract machine that can adapt to any context placed on the canvas. It can be repeated as an Autonomous Form after being mutated or distorted as an abstract ‘conceptual geometry’ as an autonomous system with internal rules. Multiple realities can potentially be constructed using this suggestive diagram.

 

3. Process of nine (9) key Terms Analysis as Real Objects.

The key for the strategy of this Research is to rely on Allusion[22] as a tool, as the way to approach Reality and reinvent Weird Realism[23].

Proposal focuses on nine (9) key Terms to be defined as Real and Sensual Objects[24] in order to finally generate the Abstract Machine of Francis Bacon[25] made out of nine (9) Quadruple fourfold Objects. Real Objects are the autonomous entities that exist independently of human perception, while Sensual Objects are the representations or appearances of these Real Objects as they are experienced by sentient beings.

In order to form the Diagram of a Quadruple Object for each Pair of Real and Sensual Object, firstly nine (9) key Terms of Autonomous Form are defined and relate to nine (9) Realistic Objects with real qualities. Those nine Real Objects gain indirect access to nine Francis Bacon paintings. Selected paintings are conceived as Sensual Objects that relate to nine formal aesthetic elements with sensual qualities.

For the selected process of the Real Objects nine (9) key Terms will be defined: (1) Autonomous Form, (2) Real Fact, (3) Scale, (4) Triptych, (5) Formal behavior, (6) Allusion, (7) Diagram, (8) Speciation and (9) Weird Realism. Firstly, each of these Terms is approached under the notion of formal exploration for Autonomous Form or under the notion of OOO[26] and Speculative Realism in order to shape and define nine (9) Real Objects with real qualities.

In parallel same key Terms are observed and traced in Francis Bacon’s[27] paintings under the notion of Formal Aesthetics, trying to reinvent Realism to define relevant nine (9) Sensual Objects with sensual qualities.

This organization of thinking finally forms nine (9) pairs of Real and Sensual Objects that end up shaping and Re-defining the nine (9) key Terms as Quadruple[28] Objects. Before developing the nine (9) pairs of Quadruple Objects at this point we need to clarify exactly the definition of Terms being used in this research.

Nine (9) key Terms for Autonomous Form and Object Oriented Ontology [OOO]:

Generic Form (1), Real Fact (2), Scale (3), Architectural Triptych (4), Formal behavior (5), Allusion (6), Diagram (7), Mutated Species (8), Unfamiliar Affekt(9).

Firstly, regarding Autonomous Form, we accept a design method that conceives Architecture as a myopic laboratory of science. Generating Architecture at the level of thought, design and application is now unfolding as a laboratory science within an environment of research through advanced design techniques and digital construction technology. We approach Formal exploration through a myopic process of geometric design evolution, that is based on the ability of Architecture to act as an Autonomous entity, independently as an isolated geometry[29] within the sterile digital environment, without any Place, regardless Context, or scale constraints and far from considering practical issues such as function. Generation of space through Formal exploration primarily requests movement, time, circulation and a strong narrative of spatial experience through orchestrated views.

Based on focused long-term academic research in that direction, we assume that Formal exploration -as geometry- succeeds in structuring autonomous architectural systems of certain formal behavior based on internal autonomous rules of relationship that do not depend -through adapt- to the external forces of a Place, of -a Context-. Thus, we consider that architectural Form and architectural Typology coexist independently of scale and utilitarian function. That is, Formal exploration can be geometrically autonomous beyond scale of application or use-function (architectural program). The diagrammatically autonomous generic Form (key Term n.1) is thus defined. Generic Form has the strength and the ability to be applied to several Contexts, for several scales and various functions. Through Form it firstly operates in a diagrammatic level of approach and can be applied in numerous architectural study cases. The main strength of Generic Form is its diagrammatic quality. Architectural autonomous Form refers to a geometrical system that follows any Scale, can be shaped towards any utilitarian Function and adapts to any specific environment or Context.

Architectural processing of Topology, meaning formal exploration follows a fluid digital model from Zero to infinity. The concept of Scale (key Term n.3) is lost. It is fundamental that initially while digitally modelling formal geometry there is no Scale. The effect of scale depends not only on the object itself but on its relation to the whole environment or its Place. Giacometti used to draw everything smaller than he saw things. He believed the right scale is the size you instinctively find correct, the size you can really ‘sees things’. He insisted to try to ‘see’ through his knowledge and used to draw everything small. The opposite scale of Objects that of hyper magnification, does not allow the viewer to grasp the Whole but to spatially experience part of the Whole.

The concept of Form in our approach follows a specific strategy of geometrical organization and design. It is analyzed and studied geometrically as a triptych of Structure, Mass and Skin. This is what in this research we call Architectural Triptych (key Term n.4). Formal exploration enhances Formal behavior (key Term n.5) of the geometry. The processing of Form is based on the processing of topological geometry during its movement, deformation and mutation in Time. Animation is the processing and evolution of Form and the design forces that shape it. Animate design is defined by the coexistence of movement and geometrical forces during formal exploration. Animation is used as a design tool and produces ‘geometrical moments’ from which various types of geometry -speciation- are registered within a wider taxonomy of species. The idea of Mutated Species (key Term n.8) is generated at this point. Formal mutation is a key point for Formal exploration processes. We call mutation of geometry the mathematical technical addition and subtraction of geometry to the original geometrical form[30]. Through transformation but mostly through mutation of a Form, new species are generated and this can lead to a variation of forms and a wide taxonomy of new species available to be included in new formal speciation.

Beyond the analysis above on key Terms regarding Autonomous Form the most important key Term is the Diagram (key Term n.7). Diagram is defined as an “Abstract Machine”[31] because it operates as an adaptable mechanism (henceforth Machine) without scale, without function and without a specific Site or Context. An Abstract Machine is not something physical or material but semiotic and diagrammatic. It acts as an assumption and not as a material substance. As a Function and not as a Form. The Diagram does not operate to represent something Real but constructs the Real to come. The Diagram constructs a new kind of Reality.

The Diagram constructs an Allusive reality adaptable to any given functional and spatial condition, therefor it is Abstract. A Diagram as a customizable Abstract Machine of relationships between things (Objects) can lead to numerous Concrete Assemblages, meaning several iterations as architectural synthesis results.

Last key Term analyzed regarding Autonomous Form is the Unfamiliar Affekt (key Term n.9). The term ‘Affekt’ or Affect in Architecture refers to the emotional response or affective impact of the Receiver based on experiential qualities of proposed architectural space. ‘Affekt’ is provoked through special effects. Unfamiliar Affekt suggest a concept where the emotional response is generated due to the weird effect of a strange element in a recognizable environment. Unfamiliar Objects in a typical familiar Context.

At this point of this research two more key Terms of Analysis will be defined below, in order to complete the introduction on the nine (9) key Terms of Analysis on Autonomous Form, Object Oriented Ontology [OOO] and Speculative Realism. Below the approach for Real Fact (key Term n.2) and Allusion (key Term n.6) are developed.

In Object Oriented Ontology all objects must be given equal attention, whether they be human, non-human, natural, cultural, real or fictional. Objects come in two kinds: Real Objects which exist whether or not they currently affect anything else and Sensual Objects which exist only in a relation to a Real object. Real objects relate to one another indirectly by means of a Sensual Object[32]. An Object in OOO is irreducible in both directions: an object is more than its pieces and less than its effects[33]. Also Objects are mutually autonomous[34] within an Event. In modern philosophy the term “Event” refers to an exclusively specific Fact[35] with the usual implication that the constituents of an event have no strong independent existence outside the event. As if the ‘Event’ is the philosophical Lieux where its components meet, while outside the Event -according to Graham Harman- components have an autonomous existence. A Real Fact (key Term n.2) for OOO is considered as a Real Object[36].

Object Oriented Ontology is an object-oriented philosophy where indirect relations between objects take place in the form of Allusion (key Term n.6). In OOO objects relate to each other indirectly, even fictitious unicorns, Popeye or governments and grains of sand. There are many ways to gain indirect access to the Real through allusion, speculation or reference. Graham Harman invents the term “Weird Realism” in his book Speculative Realism. Realism is always in some sense weird. It is about the strangeness in Reality that is not projected onto reality by us. It is already there by dint of being real. When the OOO refers to the “strange” it tries to bridge the gap between reality and its clear statements. How love speech works is composed of hints, insinuations, and allusions rather than statements and clear sentences. Just like jokes or magic tricks are easily broken when each step is explained. The relationship with the ‘strange’ is momentary and fleeting. In order to make aesthetics weird, we need the contrast of the aesthetic unfamiliarity of the unrecognized and therefore otherworldly weird object within a familiar reality that we have constructed. This is how Allusion to Aesthetics is born, as in moments characterized ‘Grotesque but cute’, ‘Playful but horrific’. The allusion is recognized with aesthetic results, i.e. aesthetics becomes philosophy. Herein lies the importance of Aesthetics in OOO. Given that OOO is itself a theory of autonomous objects and naturally endorses the formalist view that a work of art is a self-contained unit, at this point we are led to the concept of Aesthetic Formalism. There the work of Art is independent and autonomous and should be approached in a spirit of dispassionate and independent thinking. OOO has also been approached by certain Architects[37] and their architectural proposal for OOO is to imagine an Architecture can give hints and allusions with a deeper alternative view of Reality.

Francis Bacon rightly argues that there is no such thing as ‘Natural Realism’ and that we need to reinvent the concept of Realism. When an Object is familiar within a strange system then the concept of Speculative Allusive Realism is enhanced. Francis Bacon in his work shows modality and states that reality is constructed. He achieves this by making the unfamiliar to receive interpretation. He constructs the 'weirdly strange’ between familiar objects in order to allude another Reality. In regards to the horror of Francis Bacon, his world is inhabited by Objects precisely in the logic and sense of the OOO in which it is impossible to perceive or even to describe by the normal mechanism of human intelligence.

 
 

4.Conclusion: Abstract Diagrammatic Machine of nine (9) Quadruple Objects

Nine pairs of Real architectural entities and Sensual objects are generated to study a wider applied model. The proposal of this paper is to generate a diagrammatic abstract machine with Objects, elements and traits of Francis Bacon’s work to a speciation of Objects that connect through allusion. Meaning all Francis Bacon Objects exist by far as Real Objects in a real Lieu-Place. They appear to us as Sensual Objects. But the ‘whole’ of F.Bacon exists somewhere far as a Diagram, as an abstract machine. Projections of his whole are the sensual objects, his paintings. They can alter and mingle based on Allusion to generate a Tool, an allusive realism, a smooth fluid ‘mass’.

The whole of F.Bacon exists through the flat, coplanar relationship of objects (traits, figures, lieux, time, diagram, arrows, meat, smile, cages) as a whole Real Object. This is his aesthetic identity, the aesthetics of the Real F. Bacon, his whole. His identity is recognized by the allusive organization of sensual objects to create the Realistic object of F. Bacon. After mixing, mingling and matching F. Bacon objects a Meta-Object is generated a new species for the analyzed Realism of F. Bacon.

This model of nine Quadruple[38] Objects can be applied to any Creator’s work in order to extract its quadruple elements ad approach his work as a Realistic Object. This abstract machine – Diagram of nine quadruples is a Research Tool to Reinvent any given Weird Realism.

 
 

ABSTRACT MACHINE of nine (9) Quadruple Objects:

  • Pair 1: Generic Form – Isolated Figures.

    Quadruple Object (n.1) analyzes the idea of Generic Form as a Real-istic Object. The Real Qualities of term ‘Generic Form’ are the qualities of a Diagram, of a self-contained system, of self-Context, of an Autonomous Form that redefines a new Context around it.

    In Francis Bacon paintings the idea of Generic Form is dominant through the Isolated Figures which are the Sensual Objects of this analysis. Autonomous figures in Bacon’s work redefine Context of painting around them, order a certain Topos-Lieux like the round area, the ring, the rail, or the cube. The sensual quality of these figures is that they can be extracted of the painting without losing their entity, keeping the same independent meaning as isolated figures.

  • Pair 2: Real Fact – Matters of Fact

    Quadruple Object (n.2) analyzes the idea of a Real Fact[39] in Object Oriented Ontology [OOO] as a Real-istic Object. The Real Qualities of term ‘Real Fact’ are the qualities of a philosophical Lieux for meeting ingredients with autonomous existence. A Real Event forms a Real Object. The ingredients of a Fact do not have strong independent existence outside the Fact[40].

    In Francis Bacon paintings the idea of a Real Fact appears as what Deleuze calls ‘Matters of Fact’ which are the Sensual Object of this analysis. Bacon’s work has the sensual quality to stick to the Fact and develop non-narrative relationships between figures. Pure Form becomes an Icon, abstract Form sticks to the Fact, there is no figuration, no representation, no narrative. ‘It is what it is’. Figure meets Lieux and the painting stands alone and is loud as a Fact.

  • Pair 3: Scale – Traits

    Quadruple Object (n.3) analyzes the idea of Scale as a Real-istic Object under the notion of Autonomous Form. The Real qualities of Scale (not Size) is to be Free: Formal exploration generates Scaleless architectural Ideas regardless function, size or use. Oversizing does not allow to conceive the ‘whole’ but to spatially experience part of the Object.

    In Francis Bacon paintings the idea of Scale appears through Traits which are the Sensual Object of this analysis. Bacon’s work has the sensual quality of asignifying Traits. Meaning signs of horror, grotesque, nightmarish experienced only through a tactile perception of Art[41]. Traits can be sensed only as a close-up view where experience becomes scaleless.

  • Pair 4: Architectural Triptych – Bacon’s Triptyches

    Quadruple Object (n.4) analyzes the idea of architectural Triptych in Formal exploration as a Real-istic Object. The Real qualities of an architectural Triptych under the notion of formal exploration for autonomous Form is Structure – Skin – Mass.

    In Francis Bacon paintings the idea of a Bacon Triptych appears through the idea of Field – Figure – Place which are the Sensual Object of this analysis. These are the three iconographic elements for Bacon 's work. Their sensual qualities are the Fields that function as ground, the Figures operating as form or facts and the Place as the Lieux, the round area, the ring or the contour which usually the border of the Figure with the Field.

  • Pair 5: Formal behavior | Formal Figures

    Quadruple Object (n.5) analyzes the idea of Formal Behavior as a Real-istic Object. The Real Qualities of formal behavior are based on Time as a design tool. Secondary real quality of Formal Behavior is the concept of familiar geometrical shapes (such as a circle) within advanced topological mutated geometrical systems.

    In Francis Bacon paintings the idea of a Formal Figure and familiar Items are the Sensual Object of this analysis. They appear through the formal behavior of Athletic Figures, certain vanishing points of escape and familiar figurative devices such as umbrella, mirror and arrows. Their sensual qualities rely on familiar elements within substruction as a shocking spectacle for recognizing them within the unfamiliar object as a familiar element.

  • Pair 6: OOO Allusion | Chimera Allusion

    Quadruple Object (n.6) analyzes the concept of Allusion as a Real-istic Object within the notion of Object-Oriented Ontology [OOO]. Allusion obtains the Real Quality to operate as a tool for indirect access to Real Objects’ relationships.

    In Francis Bacon paintings the idea of Allusion is considered as the Sensual Object found beyond the Scream: mouths, teeth, hysteria, scream, hysterical distorted smile in Chimera figure. The allusion in Chimera figure implies there is a smile beyond the scream, and this smile is the Sensual Quality for this analysis. A smile Francis Bacon confesses he never got access to.

  • Pair 7: Diagram as Abstract Machine – multiple Realities through Allusions

    Quadruple Object (n.7) analyzes the concept of Diagram as a Real-istic Object. The Diagram as an Abstract Machine[42] obtains the Realistic Quality to construct a new type of Reality. Speculative - allusive Diagrams (abstract machines for generating Typology) lead to multiple Realities (Real concrete assemblages for generating Topology). Diagram as an Abstract Machine is a link between Abstract and Real.

    In Francis Bacon paintings the power of a Diagram is a Sensual Object that operates in an allusive way: Bacon can be translated through allusion, as an Abstract Machine that adapts to any Lieux. Repeats as autonomous Form after mutating or transforming an abstract geometry -conceptual geometry- like an autonomous system with internal rules. The idea of Diagram in Francis Bacon’s work constructs multiple Realities through Allusive Diagrams. Sensual Qualities such as allusive signs, autonomous objects, diagrams of sensations organize his work. Diagram is the possibility of a Reality and not the Fact itself.

  • Pair 8: Mutated Species – New Speciation

    Quadruple Object (n.8) analyzes the concept of Mutated Species and genres as a Real-istic Object under the notion of Autonomous Form. The singular repetition of a unit or the formal mutation of eternal growth are conceived as its Real Qualities.

    In Francis Bacon paintings New Species of the Figures are the Sensual Object. Within transformation Bacon reboots a re-enrollment of its appearance. Sensual Quality is conceived as the Redefinition of the Object.

  • Pair 9: Unfamiliar Affekt - Weird Realism

    Quadruple Object (n.9) analyzes the concept of Unfamiliar Affekt therefor weird, as a Real-istic Object within a familiar Context. As a Real Quality there is this strange fleeting moment of a familiar object related to objects detached.

    In Francis Bacon paintings Weird Affekt -as a sensual Object- achieves to re-Invent Realism through Allusion. Sensual Qualities such as horror through allusion, grotesque but cute, horrific but sweet generate Weird Realism where there is no physical Realism. Realism is about the strange –weird- that is not projected onto Reality by us. Realism is ‘already there’ as a result of being real. It is a kind of Realism that doesn’t have common sense.

The proposal of this paper is to generate the above diagrammatic Abstract Machine of nine (9) Quadruple objects, elements and traits of Francis Bacon’s work that generate new Species of Objects connected through allusion. This relation through allusion[43] is the way to approach Reality and reinvent Weird Realism[44].

The nine pairs above are the Quadruple[45] Objects of Real architectural entities and Sensual objects generated to study a wider applied model. This Abstract Machine, the Diagram of nine Quadruple Objects is a research Tool to reinvent any potential weird Realism. This model of nine uses Artificial Intelligence techniques and processes and can be applied to any Creator’s work in order to extract its quadruple elements and approach his work as a Realistic Object.

 
 

The final outcome of Francis Bacon as a Quadruple Object is generated by applying Artificial Intelligence techniques on his work. Artificial Intelligence techniques are not suggested to be applied in an indexical way. Suggestion is to use words that indirectly relate to the Object. The approach of Allusion again appears as a tool to Reinvent Reality.

Stills from animation ‘Ai Francis Bacon – Chimera’ :

 
 
 
 
 
 
 
 

  1. Allusion plays a role in hinting at or suggesting aspects of reality that may not be immediately apparent or accessible through ordinary means of cognition. Speculative realism employs allusion as a tool for expanding our understanding of the world and inviting philosophical reflection on the nature of existence.

  2. Autonomous form in architecture refers to design elements or structures that possess self-sufficiency, independence, and coherence within a larger architectural composition, often expressing individuality or distinctive character.

  3. Object-oriented ontology (OOO) is a philosophical perspective that emphasizes the independent existence and agency of objects, regardless of human perception, proposing a “flat ontology” where all objects, from living beings to inanimate things, are considered equally real and worthy of philosophical inquiry. OOO emerged in the late 20th and early 21st centuries, primarily associated with contemporary speculative realism. It proposes that objects, both living and non-living, exist independently of human perception or cognition, and that they have an inherent reality and agency that cannot be reduced to mere human constructions or interpretations. OOO challenges the anthropocentric view that humans are the center of the universe or the only entities worthy of consideration. Instead, it suggests that objects have their own autonomy and existence, regardless of whether humans perceive them or attribute meaning to them.

  4. ‘Speculative Realism An Introduction’ by Graham Harman

  5. Francis Bacon interview to Sylvester n.3 . ‘We have to reinvent Realism. There is no such a thing as Realism.’

  6. In Object-Oriented Ontology (OOO), Real Objects and Sensual Objects are two key concepts that help elucidate the ontology proposed by this philosophical framework. In summary, Real Objects in OOO are the autonomous entities that exist independently of human perception, while Sensual Objects are the representations or appearances of these Real Objects as they are experienced by sentient beings. The distinction between Real and Sensual objects underscores OOO’s rejection of anthropocentrism and its emphasis on the Autonomy and complexity of non-human entities.

  7. Through this process we define nine key Terms: Autonomous Form, Real Fact, Scale, Triptych, Formal behavior, Allusion, Diagram, Speciation and Weird Realism in order to generate nine (9) Real Objects with real qualities. In parallel equivalent key Terms are observed in Francis Bacon’s paintings under the notion of Formal Aesthetics, trying to reinvent Realism and define nine (9) relevant Sensual Objects with sensual qualities. This organization of thinking finally forms nine (9) as nine Quadruple Objects (fourfolds) of Real and Sensual Objects.

  8. The key for this strategy is to rely on Allusion as the way to approach Reality and reinvent Weird Realism.

  9. Francis Bacon claims that ‘We have to reinvent Realism. There is no such a thing as Realism.’

  10. ‘Quadruple Object is a fourfold structure of two kinds of Objects and two kinds of qualities: Real and Sensual in both cases. Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise. Since objects cannot exist without qualities and vice versa, there are only four possible combinations, indicated by the four lines between the circles of the fourfold scheme.’ Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.

  11. In Object-Oriented Ontology (OOO), a quadruple object is an entity that exists independently of human perception, consisting of four aspects: sensual, real, intentional, and effective.

  12. Gilles Deleuze’s concept of the abstract machine refers to dynamic systems of interconnected elements generating potentialities and functions, emphasizing processes over fixed structures in various fields such as philosophy, art, and sociology.

  13. Weird Realism as in the context of Speculative Realism-OOO and as in the context of Framcis Bacon s paintings.

  14. A quadruple object, in the context of Object-Oriented Ontology, is an entity composed of four aspects: sensual, real, intentional, and effective, emphasizing its autonomous existence beyond human perception.

  15. Allusion plays a role in hinting at or suggesting aspects of reality that may not be immediately apparent or accessible through ordinary means of cognition. Speculative realism employs allusion as a tool for expanding our understanding of the world and inviting philosophical reflection on the nature of existence.

  16. Object-oriented ontology (OOO) is a philosophical perspective that emphasizes the independent existence and agency of objects, regardless of human perception, proposing a “flat ontology” where all objects, from living beings to inanimate things, are considered equally real and worthy of philosophical inquiry. OOO emerged in the late 20th and early 21st centuries, primarily associated with contemporary speculative realism. It proposes that objects, both living and non-living, exist independently of human perception or cognition, and that they have an inherent reality and agency that cannot be reduced to mere human constructions or interpretations. OOO challenges the anthropocentric view that humans are the center of the universe or the only entities worthy of consideration. Instead, it suggests that objects have their own autonomy and existence, regardless of whether humans perceive them or attribute meaning to them.

  17. ‘Speculative Realism An Introduction’ by Graham Harman. Speculative realism within Object-Oriented Ontology (OOO) is a philosophical movement that asserts the existence of reality beyond human perception, emphasizing a robust form of realism and promoting a “flat ontology” where all objects, human and non-human, are considered equally real and worthy of philosophical inquiry.

  18. Francis Bacon interview to Sylvester n.3 . ‘We have to reinvent Realism. There is no such a thing as Realism.’

  19. In Object-Oriented Ontology (OOO), Real Objects and Sensual Objects are two key concepts that help elucidate the ontology proposed by this philosophical framework. In summary, Real Objects in OOO are the autonomous entities that exist independently of human perception, while Sensual Objects are the representations or appearances of these Real Objects as they are experienced by sentient beings. The distinction between Real and Sensual objects underscores OOO’s rejection of anthropocentrism and its emphasis on the Autonomy and complexity of non-human entities.

  20. Francis Bacon claims that ‘We have to reinvent Realism. There is no such a thing as Realism.’

  21. Allusion plays a role in hinting at or suggesting aspects of reality that may not be immediately apparent or accessible through ordinary means of cognition. Speculative realism employs allusion as a tool for expanding our understanding of the world and inviting philosophical reflection on the nature of existence.

  22. Allusion plays a role in hinting at or suggesting aspects of reality that may not be immediately apparent or accessible through ordinary means of cognition. Speculative realism employs allusion as a tool for expanding our understanding of the world and inviting philosophical reflection on the nature of existence.

  23. Graham Harman invents the term ‘Weird Realism’ supporting in some sense the idea of what we call ‘Weird’. It is about the strangeness in Reality that is not projected onto reality by us. It is already there by dint of being real. Object Oriented Ontology [OOO] refers to the ‘weird’ trying to bridge the gap between reality and its clear statements. In Object Oriented Ontology [OOO] objects relate to each other indirectly.

  24. In Object-Oriented Ontology (OOO), Real Objects and Sensual Objects are two key concepts that help elucidate the ontology proposed by this philosophical framework. In summary, Real Objects in OOO are the autonomous entities that exist independently of human perception, while Sensual Objects are the representations or appearances of these Real Objects as they are experienced by sentient beings. The distinction between Real and Sensual objects underscores OOO’s rejection of anthropocentrism and its emphasis on the Autonomy and complexity of non-human entities.

  25. Any other Artist or Architect could be studied instead.

  26. Object Oriented Ontology

  27. Any other Artist or Architect could be studied instead.

  28. ‘Quadruple Object is a fourfold structure of two kinds of Objects and two kinds of qualities: Real and Sensual in both cases. Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise. Since objects cannot exist without qualities and vice versa, there are only four possible combinations, indicated by the four lines between the circles of the fourfold scheme.’ Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.

  29. archi|DOCT 12 GEOMETRY p.46, February 2019, www.enhsa.net/archidoct, ISSN 2309-0103: Cellular Design 46 Christoph Klemmt, University of Applied Arts in Vienna, Austria

  30. archi|DOCT 3 FIELDS p.50, July 2014, ISSN 2309-0103, www.enhsa.net/archidoct , Hyper-Morphology: Experimentations with Bio-inspired Design Processes for Adaptive Spatial Re-use, Jia-Rey Chang // TU Delft

  31. Following the approach by Gilles Deleuze on Diagram as an Abstract Machine.

  32. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p. 9.

  33. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p. 53.

  34. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.12.

  35. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.

  36. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.

  37. David Ruy on ‘Returning to Strange Objects’, Tom Wiscombe on ‘Discreetness, Hatch, Log’, Marc Cage on ‘Killing Simplicity’

  38. ‘Quadruple Object is a fourfold structure of two kinds of Objects and two kinds of qualities: Real and Sensual in both cases. Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise. Since objects cannot exist without qualities and vice versa, there are only four possible combinations, indicated by the four lines between the circles of the fourfold scheme.’ Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.

  39. Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52

  40. The example of ‘Beatles’ by Graham Harman.

  41. The Logic of Sensation του Gilles Deleuze, p.154 note 6+7.

  42. Abstract Machine as per Deleuze s thinking.

  43. The key for this strategy is to rely on Allusion as the way to approach Reality and reinvent Weird Realism.

  44. Francis Bacon claims that ‘We have to reinvent Realism. There is no such a thing as Realism.’

  45. ‘Quadruple Object is a fourfold structure of two kinds of Objects and two kinds of qualities: Real and Sensual in both cases. Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise. Since objects cannot exist without qualities and vice versa, there are only four possible combinations, indicated by the four lines between the circles of the fourfold scheme.’ Graham Harman 's book 'Object-Oriented Ontology A New Theory of Everything p.52.