{"id":19911,"date":"2010-09-16T07:26:22","date_gmt":"2010-09-16T07:26:22","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=19911"},"modified":"2026-03-05T10:11:17","modified_gmt":"2026-03-05T09:11:17","slug":"discurso-automatico-justificacion-teorica-locura-y-combinatoria-jose-ramon-hernandez-correa","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/discurso-automatico-justificacion-teorica-locura-y-combinatoria-jose-ramon-hernandez-correa\/","title":{"rendered":"[:es]Discurso autom\u00e1tico: justificaci\u00f3n te\u00f3rica (Locura y combinatoria) | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:gl]Discurso autom\u00e1tico: xustificaci\u00f3n te\u00f3rica (Locura e combinatoria) | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:en]Automatic speech: theoretical justification (Madness and combinatorial analysis) | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:]"},"content":{"rendered":"

[:es]<\/p>\n

Os pongo aqu\u00ed el desarrollo del icosaedro, para que lo construy\u00e1is y lo teng\u00e1is con la tabla.<\/p>\n

\"\"<\/a>
Gracias al comentario de un amable lector le a\u00f1ado a este desarrollo una pesta\u00f1a que le faltaba, a la izquierda del n\u00famero 3<\/span><\/figcaption><\/figure>\n

Ya s\u00e9 que sois t\u00edmidos y no dej\u00e1is comentarios en publico, pero en privado he recibido cientos de llamadas celebrando la utilidad de la tablita, pero protestando por su endeblez te\u00f3rico-l\u00f3gica.<\/p>\n

Esto es el colmo. Los hay que no se conforman con nada. Les da uno el truco definitivo para salir airosos de cualquier compromiso arquitect\u00f3nico-cr\u00edtico, y encima les asaltan escr\u00fapulos de conciencia y exquisiteces de tiquismiquis. Pues no se apuren, que para colmo de generosidad les voy a facilitar el descargo de sus conciencias para que puedan utilizar la tabla con la cabeza muy alta.<\/p>\n

Para explicar filos\u00f3ficamente la desconstrucci\u00f3n<\/strong> de la arquitectura se nos ha dicho de todo, principalmente utilizando argumentos ling\u00fc\u00edsticos<\/strong>. La relectura de los textos, descontextualizando y recontextualizando los signos, aboca a la combinatoria<\/strong>. No me quiero extender sobre esto, pero hay numerosa bibliograf\u00eda (excesiva) que nos canta las excelencias de los palimpsestos, de los cruces e interferencias sem\u00e1nticas y de los vaciados del significado, que permiten reutilizar las formas y jugar con ellas locamente. Esta combinatoria de formas se ajusta perfectamente a una combinatoria de palabras, en la que todo ha perdido el significado<\/strong>, y en la que se obtiene uno nuevo por hallazgo casual, en el caos palimps\u00e9stico de las variantes.<\/p>\n

Uno de los arquitectos postmodernos desconstructivistas m\u00e1s conspicuos, Bernard Tschumi<\/strong>, explicaba su parque de la Villette<\/a>, en Par\u00eds, como fruto de la combinatoria loca de formas sin sentido. (Tschumi, Bernard, \u201cLocura y Combinatoria\u201d, Arquitectura<\/em>, n\u00ba 270, Madrid, enero\u2013febrero 1988, pp. 24\u201351). Una vez le\u00eddo ese texto, si el propio Tschumi nos preguntara qu\u00e9 nos parece su parque, sacar\u00edamos el icosaedro en sus narices y lo lanzar\u00edamos: 3, 7, 17, 2, 20, 11 y 6. Entonces le dir\u00edamos, muy serios, que: \u201cLa materialidad estructural del alzado expresa un impulso espec\u00edficamente macrosc\u00f3pico\u201d, lo que, indudablemente, es cierto a m\u00e1s no poder, y tan v\u00e1lido cr\u00edticamente como lo es su obra arquitect\u00f3nicamente.<\/p>\n

Podemos, para colmo, analizar y explicar nuestra frase, lo cual, con un poco de labia y de costumbre, no es nada dif\u00edcil, e incluso escribir un l\u00facido art\u00edculo sobre tan brillante frase. Todo vale.<\/p>\n

Con el fin de dar una imprescindible muletilla cultural, incluso moral, al utilizador de nuestra tabla, le facilito, adem\u00e1s del mencionado de Tschumi, los siguientes escritos fundamentales (por supuesto, no hace falta que los lea; hasta ah\u00ed pod\u00edamos llegar. Pero conviene que tenga las referencias a mano por si da con un listo de colmillo retorcido):<\/p>\n

DERRIDA, Jacques, L\u2019\u00e9criture et la diference<\/em>, Seuil, Par\u00eds, 1967. (Trad. cast. de Patricio Pe\u00f1alver, La escritura y la diferencia<\/em>, Anthropos, Barcelona, 1989, pp. 413).<\/p>\n

DERRIDA, Jacques, De la Grammatologie<\/em>, Minuit, Par\u00eds, 1967. (Trad. cast. De la gramatolog\u00eda<\/em>, Siglo XXI, Buenos Aires, 1971).<\/p>\n

ECO, Umberto, La struttura assente<\/em>, Bompiani, Mil\u00e1n, 1968. (Trad. cast. de Francisco Serra Cantarell, La estructura ausente<\/em>, Lumen, Barcelona, 1975, 4\u00aa ed. 1989, pp. 446).<\/p>\n

No s\u00e9 si se ha notado, pero todo esto lo digo completamente en serio, y me apoyo en la bibliograf\u00eda b\u00e1sica que acabo de citar.<\/p>\n

Seg\u00fan dice Eco en su mencionado libro, el significado de la arquitectura (analizada semi\u00f3ticamente) es la funci\u00f3n<\/strong>. Estoy de acuerdo con \u00e9l, pero hay que reconocer que cada vez m\u00e1s es la forma la que est\u00e1 ocupando el puesto. Cuando, adelgazando la funcionalidad, es la forma por la forma la que aspira al significado<\/strong>, entonces las frases de nuestra tabla tambi\u00e9n se cargan de significado, y adquieren una lucidez sorprendente.<\/p>\n

Quiero decir, como conclusi\u00f3n, que para analizar la obra de Jos\u00e9 Antonio Corrales, de Alejandro de la Sota, de Molez\u00fan, de O\u00edza… no puedo utilizar la tabla, pero tampoco la necesito. (La tabla ah\u00ed s\u00ed que queda como una farfolla de idioteces). El significado de su obra es analizable. No necesitamos el auxilio de la tabla para hablar de sus edificios, pues tienen<\/em> significado (y a partir de ah\u00ed, apoyados en el significado, pueden hacer poes\u00eda y surrealismo).<\/p>\n

Para lo que s\u00ed necesitamos (y urgentemente) el discurso autom\u00e1tico es para hablar de la arquitectura autom\u00e1tica. Auditorios que parecen gorritos, museos que parecen el folio estrujado que he tirado a la papelera, y que est\u00e1n proyectados a puro huevo tienen, si acaso, una sola idea clara, y es que: \u201cLa figuraci\u00f3n modal del material puntualiza una vibraci\u00f3n \u00edntimamente oblicua\u201d.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Arquitecto
\nToledo \u00b7 septiembre 2010<\/p>\n

[:en]<\/p>\n

I you put here the development of the icosaedro, in order that you construct it and have it with the table.<\/p>\n

\"\"<\/a>
Thanks to the comment of a nice reader I add to this development an eyelash that he was lacking, to the left of the number 3<\/span><\/figcaption><\/figure>\n

Already I know that you are shy and do not leave comments publicly, but privately I have received hundreds of calls celebrating the usefulness of the tablita, but protesting for his theoretical – logical flimsiness.<\/p>\n

This is the limit. Them there is that they do not conform to anything. One gives them the definitive trick to work out airy of any architectural – critical commitment, and above they assault scruples of conscience and exquisitenesses of tiquismiquis. Since they do not worry, that for limit of generosity I am going to facilitate to them the discharge of his consciences in order that they could use the table with the very high head.<\/p>\n

To explain philosophically the deconstruction<\/strong> of the architecture it has been said to us of everything, principally using linguistic arguments<\/strong>. The rereading of the texts, descontextualizando and recontextualizando the signs, leads to the combinatorial<\/strong> analysis<\/strong>. I do not want to spread on this, but there is numerous (excessive) bibliography that sings to us the excellences of the palimpsests, of the crossings and semantic interferences and of the emptyings of the meaning, which allow to re-use the forms and to play with them madly. This combinatorial analysis of forms adjusts perfectly to a combinatorial analysis of words, in which everything has lost the meaning<\/strong>, and in that the new one is obtained by chance finding, in the chaos palimps\u00e9stico of the variants.<\/p>\n

One of the postmodern architects the most eminent desconstructivistas, Bernard Tschumi<\/strong>, it was making clear his park of the Villette<\/a>, in Paris, as fruit of the mad combinatorial analysis of senseless forms. (Tschumi, Bernard, \u201cMadness and Combinatorial analysis\u201d, Architecture<\/em>, n \u00ba 270, Madrid, January – February, 1988, pp. 24-51). Once read this text, if the own Tschumi was asking us what looks like to us his park, we would extract the icosaedro in his noses and would throw it: 3, 7, 17, 2, 20, 11 and 6. Then we would say to him, very serious, that: \u201cThe structural materiality of the gathering expresses a specifically macrocospic impulse\u201d, which, undoubtedly, is true to any more not being able, and so valid critically as it it is his work architectonically.<\/p>\n

We can, for limit, analyze and explain our phrase, which, with a bit of verboseness and of custom, is not not difficult at all, and enclosedly to write a lucid article about so brilliant phrase. Any voucher.<\/p>\n

In order to give an indispensable cultural, even moral cane, to the utilizador of our table, I facilitate to him, besides the Tschumi’s mentioned one, the following fundamental writings (certainly, it is not necessary that he reads them; up to there we could come. But it is convenient if it has the references to hand if it meets on the ready one of involved fang):<\/p>\n

DERRIDA, Jacques, L\u2019\u00e9criture et la diference<\/em>, Seuil, Par\u00eds, 1967. (Trad. cast. de Patricio Pe\u00f1alver, La escritura y la diferencia<\/em>, Anthropos, Barcelona, 1989, pp. 413).<\/p>\n

DERRIDA, Jacques, De la Grammatologie<\/em>, Minuit, Par\u00eds, 1967. (Trad. cast. De la gramatolog\u00eda<\/em>, Siglo XXI, Buenos Aires, 1971).<\/p>\n

ECO, Umberto, La struttura assente<\/em>, Bompiani, Mil\u00e1n, 1968. (Trad. cast. de Francisco Serra Cantarell, La estructura ausente<\/em>, Lumen, Barcelona, 1975, 4\u00aa ed. 1989, pp. 446).<\/p>\n

Do not be if it has been obvious, but all that I say it completely seriously, and rest on the basic bibliography that I have just mentioned.<\/p>\n

As he says Echo in his mentioned book, the meaning of the architecture (analyzed semi\u00f3ticamente) is the function<\/strong>. I agree with him, but it is necessary to admit that increasingly it is the form the one that is occupying the position. When, slimming the functionality, it is the form for the form the one that aspires to the meaning<\/strong>, at the time the phrases of our table also are loaded with meaning, and acquire a surprising brilliancy.<\/p>\n

I want to say, as conclusion, that to analyze the work of Jose Antonio Corrales, of Alejandro de la Sota, of Molez\u00fan, of O\u00edza … I cannot use the table, but I do not need it either. (The table there yes that stays as a nonsense of idiocies). The meaning of his work is analyzable. We do not need the aid of the table to speak about his buildings, since they have<\/em> meaning (and from there, supported on the meaning, they can do poetry and surrealism).<\/p>\n

For what yes we need (and urgently) the automatic speech is to speak about the automatic architecture. Audiences that seem gorritos, museums that look like the squeezed sheet of paper that I have thrown at the wastebasket, and that are projected to pure egg have, if perhaps, an alone clear idea, and it is that: \u201cThe modal imagination of the material specifies an intimately oblique vibration\u201d.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Architect<\/p>\n

Toledo \u00b7 september 2010<\/p>\n

[:gl]<\/p>\n

P\u00f3\u00f1ovos aqu\u00ed o desenvolvemento do icosaedro, para que o construades e te\u00f1\u00e1delo coa t\u00e1boa.<\/p>\n

\"\"<\/a>
Gracias al comentario de un amable lector le a\u00f1ado a este desarrollo una pesta\u00f1a que le faltaba, a la izquierda del n\u00famero 3<\/span><\/figcaption><\/figure>\n

Xa sei que sodes t\u00edmidos e non deixades comentarios en publico, pero en privado recib\u00edn centos de chamadas celebrando a utilidade da tablita, pero protestando polo seu endeblez te\u00f3rico-l\u00f3xica.<\/p>\n

Isto \u00e9 o colmo. Hainos que non se conforman con nada. D\u00e1lles un o truco definitivo para sa\u00edr airosos de calquera compromiso arquitect\u00f3nico-cr\u00edtico, e encima as\u00e1ltanlles escr\u00fapulos de conciencia e exquisiteces de tiquismiquis. Pois non se apuren, que a\u00ednda por riba de xenerosidade voulles a facilitar o descargo das s\u00faas conciencias para que poidan utilizar a t\u00e1boa coa cabeza moi alta.<\/p>\n

Ya s\u00e9 que sois t\u00edmidos y no dej\u00e1is comentarios en publico, pero en privado he recibido cientos de llamadas celebrando la utilidad de la tablita, pero protestando por su endeblez te\u00f3rico-l\u00f3gica.<\/p>\n

Para explicar filosoficamente a desconstruci\u00f3n<\/strong> da arquitectura d\u00edxosenos de todo, principalmente utilizando argumentos ling\u00fc\u00edsticos<\/strong>. A relectura dos textos, des contextualizando e re contextualizando os signos, aboca a combinatoria<\/strong>. Non me quero estender sobre isto, pero hai numerosa bibliograf\u00eda (excesiva) que nos canta as excelencias dos palimpsestos, dos cruzamentos e interferencias sem\u00e1nticas e dos baleirados do significado, que permiten reutilizar as formas e xogar con elas tolamente. Esta combinatoria de formas ax\u00fastase perfectamente a unha combinatoria de palabras, na que todo perdeu o significado<\/strong>, e na que se obt\u00e9n un novo por achado casual, no caos palimps\u00e9stico das variantes.<\/p>\n

Un dos arquitectos postmodernos desconstructivistas m\u00e1is conspicuos, Bernard Tschumi, explicaba o seu parque da Villette<\/a>, en Par\u00eds, como froito da combinatoria tola de formas sen sentido. (Tschumi, Bernard, \u201cLoucura e Combinatoria\u201d, Arquitectura<\/em>, n.\u00ba 270, Madrid, xaneiro-febreiro 1988, pp. 24-51). Unha vez lido ese texto, se o propio Tschumi nos preguntase que nos parece o seu parque, sacariamos o icosaedro nos seus narices e lanzari\u00e1molo: 3, 7, 17, 2, 20, 11 y 6. Ent\u00f3n diri\u00e1moslle, moi serios, que: \u201cA materialidade estrutural do alzado expresa un impulso especificamente macrosc\u00f3pico\u201d, o que, indubidablemente, \u00e9 certo a m\u00e1is non poder, e tan v\u00e1lido criticamente como o \u00e9 a s\u00faa obra arquitectonicamente.<\/p>\n

Podemos, para colmo, analizar e explicar a nosa frase, o cal, cun pouco de labia e de costume, non \u00e9 nada dif\u00edcil, e mesmo escribir un l\u00facido artigo sobre tan brillante frase. Todo vale.<\/p>\n

Co fin de dar unha imprescindible muleta cultural, mesmo moral, ao utilizador da nosa t\u00e1boa, facil\u00edtolle, ademais do mencionado de Tschumi, os seguintes escritos fundamentais (por suposto, non fai falta que os lea; ata a\u00ed podiamos chegar. Pero conv\u00e9n que te\u00f1a as referencias a man por se d\u00e1 cun listo de cairo retorcido):<\/p>\n

DERRIDA, Jacques, L\u2019\u00e9criture et la diference<\/em>, Seuil, Par\u00eds, 1967. (Trad. cast. de Patricio Pe\u00f1alver, La escritura y la diferencia<\/em>, Anthropos, Barcelona, 1989, pp. 413).<\/p>\n

DERRIDA, Jacques, De la Grammatologie<\/em>, Minuit, Par\u00eds, 1967. (Trad. cast. De la gramatolog\u00eda<\/em>, Siglo XXI, Buenos Aires, 1971).<\/p>\n

ECO, Umberto, La struttura assente<\/em>, Bompiani, Mil\u00e1n, 1968. (Trad. cast. de Francisco Serra Cantarell, La estructura ausente<\/em>, Lumen, Barcelona, 1975, 4\u00aa ed. 1989, pp. 446).<\/p>\n

Non sei se se notou, pero todo isto d\u00edgoo completamente en serio, e ap\u00f3iome na bibliograf\u00eda b\u00e1sica que acabo de citar.<\/p>\n

Segundo di Eco no seu mencionado libro, o significado da arquitectura (analizada semioticamente) \u00e9 a funci\u00f3n<\/strong>. Estou de acordo con el, pero hai que reco\u00f1ecer que cada vez m\u00e1is \u00e9 a forma a que est\u00e1 a ocupar o posto. Cando, adelgazando a funcionalidade, \u00e9 a forma pola forma a que aspira ao significado<\/strong>, ent\u00f3n as frases da nosa t\u00e1boa tam\u00e9n se cargan de significado<\/strong>, e adquiren unha lucidez sorprendente.<\/p>\n

Quero dicir, como conclusi\u00f3n, que para analizar a obra de Jos\u00e9 Antonio Corrales, de Alejandro de la Sota, de Molez\u00fan, de O\u00edza… non podo utilizar a t\u00e1boa, pero tampouco a necesito. (A t\u00e1boa a\u00ed si que queda como unha farfolla de idioteces). O significado da s\u00faa obra \u00e9 analizable. Non necesitamos o auxilio da t\u00e1boa para falar dos seus edificios, pois te\u00f1en<\/em> significado (e a partir de a\u00ed, apoiados no significado, poden facer poes\u00eda e surrealismo).<\/p>\n

Para o que si necesitamos (e urxentemente) o discurso autom\u00e1tico \u00e9 para falar da arquitectura autom\u00e1tica. Auditorios que parecen gorritos, museos que parecen o folio estrullado que tirei \u00e1 papeleira, e que est\u00e1n proxectados a puro ovo te\u00f1en, se acaso, unha soa idea clara, e \u00e9 que: \u201cA figuraci\u00f3n modal do material puntualiza unha vibraci\u00f3n intimamente oblicua\u201d.<\/p>\n

Para lo que s\u00ed necesitamos (y urgentemente) el discurso autom\u00e1tico es para hablar de la arquitectura autom\u00e1tica. Auditorios que parecen gorritos, museos que parecen el folio estrujado que he tirado a la papelera, y que est\u00e1n proyectados a puro huevo tienen, si acaso, una sola idea clara, y es que: \u201cLa figuraci\u00f3n modal del material puntualiza una vibraci\u00f3n \u00edntimamente oblicua\u201d.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Arquitecto<\/p>\n

Toledo \u00b7 septembro 2010<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Os pongo aqu\u00ed el desarrollo del icosaedro, para que lo construy\u00e1is y lo teng\u00e1is con la tabla. Ya s\u00e9 que sois t\u00edmidos y no dej\u00e1is comentarios en publico, pero en privado he recibido cientos de llamadas celebrando la utilidad de la tablita, pero protestando por su endeblez te\u00f3rico-l\u00f3gica. Esto es el colmo. Los hay […]<\/p>\n","protected":false},"author":33,"featured_media":19912,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[93,3651,3648,393,3650,3652,3645,3646,1595,3353,5884,3653,1021,1985,1103,2066,1136,1865,3016],"class_list":["post-19911","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alejandro-de-la-sota","tag-bernard-schumi","tag-combinatoria","tag-critica","tag-des-construccion","tag-discurso","tag-discurso-automatico","tag-discurso-vacio","tag-francisco-javier-saenz-de-oiza","tag-jacques-derrida","tag-jose-antonio-corrales-gutierrez","tag-jose-ramon-hernandez-correa","tag-pensamiento","tag-pensar","tag-profesion","tag-proyectar","tag-ramon-vazquez-molezun","tag-reflexion","tag-umberto-eco"],"yoast_head":"\nDiscurso autom\u00e1tico: justificaci\u00f3n te\u00f3rica (Locura y combinatoria) | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/title>\n<meta name=\"description\" content=\"Discurso autom\u00e1tico: justificaci\u00f3n te\u00f3rica (Locura y combinatoria)\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/discurso-automatico-justificacion-teorica-locura-y-combinatoria-jose-ramon-hernandez-correa\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Discurso autom\u00e1tico: justificaci\u00f3n te\u00f3rica (Locura y combinatoria) | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa\" \/>\n<meta property=\"og:description\" content=\"Discurso autom\u00e1tico: justificaci\u00f3n te\u00f3rica (Locura y combinatoria)\" \/>\n<meta property=\"og:url\" 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