Demasiada Información
“Too much information” is the representation of the minimal brain unit, a neuron, which contains lines of data tense in latent electricity. The interaction with the mouse is one more piece of data that comes in and collapses everything into chaotic synapses, but it doesn’t break it.
Technical, aesthetic and conceptual development
The work expresses the state of my mind, facing a job with p5js where each step that we discover excites me and, in parallel, it is very difficult for me to learn each programming step necessary to give shape to everything that appeared in my head. I found the exercise frustrating, and also exciting and cathartic. I decided that I was not going to give up, because I saw that these tools are what I need, I thought why do I decide to make a work programming this way and not with techniques that I already know? and there is the first technical decision: that there be interaction. And from that, the conceptual decision to present in my work what happened to me when I tried to approach it: “this doesn’t enter my head, it doesn’t fit me” I thought when doing the different tests. Then I looked at my brain and thought about each neuron, I saw them as the minimum unit that they are and how all together they build a vital electricity, and hence the parallelism, going to a basic unit of forms, the line, trusting in going little by little being able to interact with it, and even more so in their groupness, the lines together on a canvas are a composition in which an exogenous data enters, the click, which generates the nesting of those lines, which like the tissues in the body, endure the shaking and they do not let go of their network, in which their resistance lies.
As an artistic reference, I investigated the work of Lillian Schwartz, excited by her multidisciplinary search with which I feel identified, and I was very attracted to her works with movement, in video or evoking that movement of bodies and faces from lines. In my research on dance and image, I really like to investigate how the body, the skin, is often presented in non-representative but no less sensitive ways, and that resonated with me when I saw his engravings. I decided to take from its aesthetic characteristics the high contrasts that emphasize the skeletal nature of the line as a subject of movement and interaction, and also the evocation of the body in linear forms.
In these decisions, words from Rosalind Krauss come to mind, who talks about how the different artistic disciplines have a fundamental relationship with their support, which is why this way of creating becomes the means to express a message that could not be represented in any other way. And from there reaffirm that there is interaction, which leads me to Marshall McLuhan, who mentions the media as extensions of the body, which generate more attraction, according to the author, as soon as they have “content”, which I find in the action of “closing” the message with a click, the mouse as an extension of the body in conversation with the screen that displays an evocation of another body, “it can be perceived that our human senses, of which the media are extensions, are also fixed costs for our personal energies and that, Furthermore, they shape our consciousness and experiences,” McLuhan mentions, quoting Carl Jung, and in the experience of clicking on my work I feel like I shake one of my neurons spread out there, thus sending it energy to be able to process everything.