The Dynamics of
CONCRESCENTISM
The Approach and the Process
8
The Juxtapositioning of Opposites
This is another operation that is intrinsic to Concrescentism. The basic concept is really quite simple but the results are involved and complex. This is another way of evolving new motifs and designs or forms and objects. This is done by the juxtaposition of opposites. These opposites may be any form, line (or set of lines), motifs, or any visual images. The way in which these opposites are positioned opposite or against one another is also important. This is the second step. How or in what way are the two positioned opposite one another? What is their overall arrangement – their proximity – their angle – their relationship to one another? The third step is to create a transitional design between the other two – a hybrid design. This is a bit more difficult to describe and is far easier to demonstrate. The transitional design acquires its own individual character at its own center and incorporates transitional elements from each design. This transitional design may be arrived at in either of two ways. By setting the elements opposite one another and leaving empty space in between and then working inward. A second way is to allow the elements to intersect and alter outward from the point of intersection. This comes about largely by modifying existing lines and shapes to create transitional forms. Finally, the fourth stage would be to extract the hybrid, refine it and concentrate on it as the resultant design and further modify and refine it. By the way, we can stop at any stage of this operation. Each stage will give us a different type of design, form, object, or style. We can stop the process and extract and make use of the design that results from any stage. The following are suggestions for various visual elements that may be used in juxtaposition with one another. Any of these processes can be used in concert symbols, forms or emblematic representations as well.
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