Take a a Platonic solid, a cube. Then…

- Divide every face of the cube into 9 squares, like a Rubik’s Cube. This will sub-divide the cube into 27 smaller cubes.
- Remove the cube at the middle of every face, and remove the cube in the center, leaving 20 cubes.
- Repeat steps 1–3 for each of the remaining smaller cubes. Forever.

At each stage, you’re left with a fractal curve called a Menger Sponge:

[More animation here]

At the limit point of infinite recursion, you’re left with a cube which has infinite surface area, but which is *all hole*.

We offer this empty solid up as a model of an aesthetic we’re labelling *ghostmodernism* within which — of the spine, the spire, the span that holds the form to one form: the wire in the rose — *only* that span, the form of the form, remains, as the form itself has now become *infinitely detailed*, yet in that process, *of the void*.

So, you ask, what does ghostmodernism look like, in the wild?

**Exhibit One** — this exquisite laser-cut chair from Gallery Fumi:

[view full-size on Flickr]

**Exhibit Two** — the plot of the film *Inception*, while having the surface modernist *form* of a heist thriller, recurses down into the frozen time ‘down there’ deep in stasis of Cobb’s dreamworld, the narrative ‘arc’ now a pathological curve.

The ghostmodern is not inherently evanescent, although I’d happily claim Doug Starn’s Big Bambu installation as an edge-case.

These thoughts also return to us our dreams of the hyperbolic surfaces of modern being — there’s another post coming soon linking these thoughts…

Ok, now let’s Google to see who else has used the term, and to describe what…

Here we go…

Rachel Whitread? http://instituteformodern.co.uk/2010/ghostmodernism

Maybe —

… although here I’m more interested in forms which are become voids, rather than her voids->forms…

…maybe ghostmodernism accommodates both sides of that mirror (form->void, void->form)?