Contradicción dialectica

Abstract

Ochoa's thesis proposes a profound philosophical and aesthetic reflection on the concept of dialectical contradiction, understood as a creative engine driven by the conflict between opposites. Dialogue is defined as a confrontation between equals that generates extreme opposition, giving rise to what the author calls the "positive evil": a creative tension that allows for the generation of transformative options for existence. This initial opposition, expressed as disagreement, becomes dialectical contradiction when it is internalized as a necessary relationship between two opposing concepts, such as permanence and change. The project chooses the cube as the sole form upon which to pose and explore these contradictions, allowing for the visualization of transformation and conflict through permutation: a perceptual experience in which the form is constantly reconfigured without being linked to symbolic meanings. The contradiction between subject and object, and between reason and experience, thus becomes the central axis of the plastic dialogue. The development of the project seeks to translate philosophical concepts into concrete geometric structures, shaping thought through sculpture-installation. Through three structures called "polycubic structures," constructed in wood and charcoal, the interaction between perceptual opposites is materialized. The work stems from philosophical ideas about evil, particularly those of Jean-Luc Nancy, who proposes evil not as negation, but as possibility. These ideas are linked to the Platonic theory of contradiction, and then articulated with geometry through the phenomenon of permutation. The cube is chosen as the ideal form to express the interaction between knowledge and experience, and the number three is used as a module of spatial ordering, suggesting an unstable equilibrium between unity, conflict, and transformation. Finally, the proposal seeks to actively involve the viewer as a perceptual interlocutor, generating an experience of direct confrontation with the form stripped of ornament, where geometry becomes embodied thought.