Sistema binario de interpretación visual

The program starts by pressing the “process” button. The code reads the pixels from a preloaded image and writes the color data to an array. This is compared to other predefined grayscale based arrays and writes numbers 0 or 1 over the pixels depending on the result. The values ​​taken into account for the comparison allow the numbers to function as color shades to form a representation of the base image.

Technical, aesthetic and conceptual development

The basic idea of this work is to generate the graphic interpretation of an image using numbers as a representation of colors. I was inspired by the generative art developed by Georg Nees, taking as a technical reference his work “Würfel-Unordnung (Cubic Disarray)” (1968-1970) where shapes are generated from left to right and from top to bottom with the horizontal and vertical limits defined by means of code, and the work “Head” (1968) produced by Lillian F. Schwartz which used numbers to determine the different gray levels of the image. This post-medial work, as Rosalind Krauss mentions in “Journey through the North Sea. Art in the time of the post-medial condition (1999)” when talking about the development of television production and due to the techniques used, does not have a “medium specificity” in its composition but rather a combination of various “heterogeneous” media, which separates the work from artistic autonomy. However, and despite the technical characteristics, the product resulting from this project contains references to “ASCII art” and can be associated as a digital form of “pointillism”, a technique developed by Georges Seurat (1859-1891) belonging to the movement of post-impressionism. The intention of this work is the possibility of observing the interpretation of an existing piece through the approximate reformulation of it in a new medium, this shares what the author Natalie Heinich in “The work beyond the object (2014)” develops about the concept of contemporary art as “Allograph”, where she defines that the destiny of contemporary art is the “allographization of the autograph” after quoting the philosopher Yves Michaud who maintains: “…The works “They have been replaced in artistic production by devices and procedures that function as works and produce the pure experience of art, the purity of the aesthetic effect almost without conditions or support, except perhaps for some technical devices that generate these effects…”