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Planta baixa do infinito

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Clayton Alexandre Zocarato ‘Planta baixa do infinito’

Clayton Alexandre Zocarato
Clayton A. Zocarato
Imagem criada pelo ChatGPT - https://chatgpt.com/c/69f2d26d-0288-83e9-9bf2-c7a405c80271
Imagem criada pelo ChatGPT – https://chatgpt.com/c/69f2d26d-0288-83e9-9bf2-c7a405c80271

O infinito não começa.

            Ele infiltra.

             Escorre pelas frestas daquilo que se tenta chamar de limite e, quando percebido, já contaminou a ideia inteira de contorno.

            Não há borda que o contenha, apenas a ilusão de uma parede recém-pintada, ainda úmida, onde alguém escreveu com o dedo: “Aqui termina”.

             Mas o dedo atravessa a tinta, atravessa o reboco, atravessa o tijolo e não encontra o fim — apenas mais matéria, mais silêncio, mais uma repetição do mesmo gesto em escalas que se recusam a caber na palavra ‘escala’.

            O vazio não é o oposto disso. O vazio é o método.

            Há quem construa edifícios para se proteger do infinito. Linhas retas, ângulos previsíveis, metragem quadrada registrada em cartório. Cada centímetro delimitado por contrato, cada janela com sua função: olhar para fora sem se misturar.

            A filosofia do imobiliário nasce dessa tentativa desesperada de domesticar o indomesticável: transformar o abismo em planta baixa, o tempo em prestação mensal, a angústia em cláusula.

            Um apartamento de 47 metros quadrados não é um espaço. É uma narrativa comprimida.

            Uma promessa de controle. Um pacto silencioso de que ali dentro o infinito não entra — ou, se entrar, entra educado, em forma de espelho, duplicando o que já existe, jamais criando algo novo.

             A repetição é a grande aliada da propriedade privada: corredores que levam a portas que levam a quartos que levam a janelas que mostram outras janelas. Um eco visual que se vende como segurança.

            Mas o infinito infiltra.

            Ele se manifesta no intervalo entre o elevador e o andar desejado, quando o número digital pisca e por um segundo não é número, é vertigem.

            Ele aparece no corredor vazio às três da manhã, quando o sensor de presença falha e a luz não acende — não por defeito técnico, mas por recusa ontológica.

            Ele sussurra na rachadura da parede recém-reformada, insistindo que nenhuma reforma é suficiente, que todo acabamento é apenas uma pausa superficial.

            E então surge a ideia de redenção.

            Não uma redenção grandiosa, transcendental, mas uma redenção macabra, pequena, quase burocrática.

            Redimir-se de quê? De ter acreditado que o espaço podia ser possuído.

            De ter aceitado que o vazio podia ser ignorado. De ter assinado, com caneta azul, um contrato com o nada.

            Essa redenção não salva. Ela expõe.

            Há um momento — sempre há — em que a planta do imóvel deixa de ser representação e se torna labirinto.

            As linhas, antes claras, começam a se curvar discretamente, como se obedecessem a uma lógica paralela. O quarto invade a sala sem aviso. A cozinha repete a si mesma em ângulos impossíveis.

             O banheiro se prolonga em um corredor que não existia na versão anterior do mapa. Não é um erro de leitura. É uma correção do próprio espaço.

            E nesse instante, o proprietário — palavra curiosa — percebe que não possui nada.

            Que nunca possuiu.

            Que foi, no máximo, tolerado.

            A filosofia do imobiliário ensina que valor é localização. Mas localização de quê? Onde exatamente está um lugar que se altera quando não é observado?

             Que se reorganiza na ausência de testemunha? Que multiplica suas dimensões no escuro?

            O valor, então, torna-se uma ficção compartilhada, uma convenção útil para manter o terror sob controle.

             Paga-se caro por isso. Muito caro.

            A narrativa insiste em ser linear, mas o espaço não colabora.

            Há uma porta que sempre esteve ali, mas que agora parece deslocada alguns centímetros para a esquerda.             Uma diferença mínima, quase imperceptível, mas suficiente para gerar dúvida.

            E a dúvida, uma vez instalada, cresce com uma velocidade incompatível com a metragem do ambiente.

                        Talvez o infinito não seja expansão, mas repetição.

            Talvez ele não precise de espaço adicional, apenas de variação microscópica.

            Um desvio de milímetros que, acumulado, produz um abismo.

             Não se cai de uma vez. Cai-se em parcelas. Um centímetro por dia, financiado em décadas de distração.

            A redenção macabra se oferece como solução: reconhecer o erro, abandonar a pretensão de controle, aceitar o vazio como estrutura fundamental. Mas há um preço. Sempre há.

            Aceitar o vazio implica abrir mão da distinção entre dentro e fora. Significa admitir que as paredes são simbólicas, que o teto é uma sugestão, que o chão pode, a qualquer momento, inverter sua função.

             Não há mais abrigo. Apenas continuidade.

            E, paradoxalmente, é nesse abandono que surge uma forma distorcida de liberdade.

            Sem a necessidade de manter a coerência do espaço, a mente começa a explorar possibilidades antes impensáveis.

            Um corredor pode ser atravessado sem ser percorrido

            . Uma porta pode ser aberta sem ser tocada. Um quarto pode conter todos os outros quartos simultaneamente, dependendo do ângulo de observação — ou da ausência dele.

            A narrativa se fragmenta.

            Não há mais começo, meio e fim. Apenas pontos de intensidade conectados por lacunas.

            O texto se escreve nos intervalos, nos espaços em branco, nas pausas que antes eram ignoradas.

            A linguagem tenta acompanhar, mas tropeça. Palavras se repetem com pequenas variações, como se buscassem uma precisão impossível. Frases começam e não terminam. Ou terminam antes de começar.

            Há um ruído constante, quase imperceptível, como o som de um prédio respirando.

            E talvez respire.

            Talvez cada estrutura construída seja um organismo lento, absorvendo as intenções de seus ocupantes, digerindo suas rotinas, excretando pequenas distorções que, acumuladas, alteram a própria realidade.

            Não por maldade. Por necessidade.

            O infinito precisa de veículos, e o concreto é um excelente condutor.

            A redenção, então, deixa de ser um objetivo e se torna um processo contínuo de desintegração da certeza.

            Cada vez que se reconhece a falha na percepção, algo se dissolve. Não apenas uma crença, mas uma camada inteira de interpretação.

             O mundo se torna mais instável, mais fluido, mais próximo do que talvez sempre tenha sido.

            E o vazio?

            O vazio não ameaça. Ele aguarda.

            Não há urgência no nada. Não há pressão. Apenas uma disponibilidade infinita para acolher aquilo que deixa de se sustentar.

            Cada ideia que colapsa, cada estrutura que se revela ilusória, cada parede que se desloca alguns centímetros — tudo encontra no vazio um destino inevitável e, estranhamente, adequado.

            A perturbação não está no vazio em si, mas na resistência a ele.

            Na insistência em manter formas fixas em um contexto que favorece o fluxo. Na tentativa de congelar o instante em um contrato de longo prazo.

            Na crença de que é possível habitar um ponto sem ser afetado pela totalidade.

            Mas o infinito infiltra.

            Sempre.

            E talvez — apenas talvez — a única redenção possível seja parar de construir paredes e começar a observar as rachaduras.

             Não como defeitos, mas como aberturas. Não como sinais de falha, mas como convites.

            O texto não termina aqui.

            Ele apenas interrompe sua própria continuidade para sugerir que há algo além desta linha, algo que não pode ser contido na sequência de palavras, algo que escapa à sintaxe e se instala diretamente na percepção.

             Um desvio sutil, uma alteração mínima, um deslocamento de sentido que, se seguido, leva a um lugar onde o conceito de lugar já não se aplica.

            E nesse ponto — que não é um ponto — a filosofia do imobiliário se dissolve completamente, revelando-se como o que sempre foi: uma tentativa elegante de negociar com o indizível.

            Sem sucesso.

            Mas com estilo.


Clayton Alexandre Zocarato

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