This document discusses disrupting 3D models through digital images and interfaces. It explores distributing color, shape, and texture properties of 2D and 3D images according to different rules through software plugins, and discusses generating and disrupting 3D objects randomly. It proposes that these disrupted models could be 3D printed and analyzed as visual elements and plastic signs rather than figurative representations. The document also references specific examples like film sequences and title sequences to illustrate motion structures and discusses presenting the disrupted models through a website.
17. Plastic Signs != Figurative Signs
They are visual elements
We approach them by means of no figurative association, or
representation to the physical world
They complete iconic and iconographic signs
18. The expression plane of plastic signs
Coloremes Figuremes Texturemes
hue position textural element
brigthness dimension textural repetition
saturation direction
19. These are plastic categories which can be measured, mixed,
remixed, and analyzed
When assembled, they create plastic formants... we move toward
other meanings, a plastic language
20. Greimas said: there is homologation between plastic categories and
meaning, at the form level
Abstract as they are, they may foster meaning effects:
roundness/harshness, flat/jagged, union/dispersion, small/tall, stretched/
squashed.
But is it possible to say that these meaning effects are homological? Is there
a universal or an ideal shape of harshness? Is it useful to categorize plastic
formants? What happens if there is no figurative background as reference?