Verso & Recto

Recto
&
Verso
Vincenzo Scamozzi
Any architectural drawing traced on
a piece of paper is
a three-dimensional object, a fact
that is too easy to forget in viewing
drawings in book and magazine
reproductions or on the wall of art
galleries
My considerations on the nature and role of recto and verso
in architectural drawings are not reactionary propositions
trying to fight back the revolution of digital drawings, but
rather intend to pose themselves as new way for getting a
better understanding, given the fresh possibilities of the
graphesis that computers afford, we should not be
content with an after-the-fact analysis of algorithmically-
produced representations alone but to bring into the new
graphesis the thought that architectural drawings are
irreducible to immaterial codes but the chiasm between
materiality and immateriality should be the source of
their evolution.
•  Carta da lucido
For many centuries paper was impregnated with
materials that had a similar index of refraction
such as linseed oil, poppy-seed oil, starch, varnish
etc. Today starch, mineral oils, and synthetic
resins are used to raise the transparency of paper.
From the middle of the nineteenth century, paper
was made transparent through treatment with acid,
mainly sulfuric acid. Through the effect of the
strong acid, a coating of colloidal cellulose is
produced on the fibers which is insoluble in water,
fills out the pores in the paper, and makes the
paper translucent.
An obsolete machine

Macchina eliografica
Victor Landweber
•  Recto/Verso #12
Comments by James Enyeart, Tucson AZ
Contiguous imagery in an artist's work is the imagination's
imitation of the mind's working process. It is impossible to
imagine thinking one thought at a time or completing a thought
without the overlay of another. And what about sensory signals
and memory? It is impossible to conceive of imagination
without contiguous imagery.

•  Almost always, when each set of elements becomes

synthesized
In reality, each reader reads only what is already within
into a completed piece, other more interesting
configurational
What difference is there between what you find and what you
alternatives suggest themselves. I recognize this
phenomenon as
himself. The book is only a sort of optical instrument which
part of the evolution of artistic process, but become
anxious
make? You have to make it to find it. You have to find it to
when I consider this assumption in relation to the
stationary
the writer offers to the reader to enable the latter to discover
character of the book and the impossibility of a continuing
make it. You only find things that you already have in your
mind.
alternative form for it or for subsequent generations of it.
in himself what he would not have found but for the aid of the
book.
•  Robert Heinecken
Marcel Proust
Frederich Sommer
• 
— James Enyeart
 Recto/Verso #11
Contribution by A.D. Coleman, New York NY
(a review of Heinecken's work written previously and photogrammed by Mr. Coleman)
From paperless chirography to typography (digital)
by the way of paper chirography and photography
The Xerox-copier has killed the
divider
De Architectura Ferrarese
Recto Verso
The reflected
plan
•  They entered the Fat One’s bedroom, where he
was lying in a deep sleep, and they put him on a
stretcher with all of his clothes. They carried him
to his house where, by chance, his mother had not
yet returned from the villa, which they knew since
they kept a close watch over everything - and they
put him in his bed and put his clothes where he
usually put them. But since he usually slept with
his head at the head of the bed, they left him with
his head at the foot of the bed. Once they did this,
they took the key to his shop and went inside. They
took all of his hardware and moved it from one
place to another. They did the same with his tools,
leaving the wood planes with the edges up, and the
saws with the teeth down. They did this with all
the items in the shop that they could, so that the
shop was so mislaid and much turmoil that it
seemed demons had been there.
 •  Born in 1892,
Father Pavel Florensky
a theoretician of arts,
a theologian and
a mathematician taught at
the Vuchtemas and was an
active intellectual figure during the
Russian Revolution until 1933 when
he was deported in a lager. He was
executed near Leningrad in 1937.
Florensky’s main concern was not in
φιλοσοφια
but
in φιλοκαλια.
Fabrizio Clerici
Fabrizio Clerici
•  In the dream, time runs, and runs fast,
toward the present, inverse from the
awake consciousness .We are brought
on the plane of an imaginary space,
by which the same event seen from the
plane of the real space is seen
imaginally as it was taking place in a
teleological time.
• 
(Florensky, Iconostasis 1977:30).
Veronica’s veil
El Lissitsky
Verso & Recto

Recto
&
Verso