Vibración
“Vibration” is a hypnotizing optical illusion that constantly changes, generating different visual patterns. With the arrows on the keyboard the viewer can change the direction to vertical or horizontal, pressing any other key returns to the original movement.
The vibration of the cubes can be extrapolated to the vibration of any other body or particle, to the vibration of thoughts, to the vibration of ideas, to the vibration of our environment.
Technical, aesthetic and conceptual development
“Vibration” is a work made up of repetitive four-sided flat figures, whose configuration in space initially gives us the sensation of seeing cubes move in a block, uninterrupted.
It is mainly inspired by the work with flat figures done by the artist Vera Mólnar, and, in some part also, by the work of George Nees. Both manage to generate optical sensations in four-sided plane figures, using algorithms and mathematical operations as an artistic technique.
To talk precisely about the artistic technique used, and the changes that artistic practices have had throughout history, we can go back to authors such as Paul Valery, who in 1928 mentioned in the text “The conquest of ubiquity”, that great novelties should be expected, which could transform the techniques of the arts, and in turn, the processes of invention.
As we know, advances in science and technology have always gone hand in hand with the evolution and transformation of art, as well as with the evolution, transformation and vibration of our environment and life as we know it. From the moment we are born we face change, we stop being in a privileged and safe position, to go out to breathe and vibrate on our own. Throughout history, human beings have carried these constant changes, vibrations and perceptions to the practices and techniques used for artistic production.
Precisely these changes in the story generated the appearance of montage, which in general consists of uniting different elements and coupling them into the same composition. SIMÓ MULET (2004) expresses in the essay “The visual languages of modernity” that: “The use of mechanical metaphor is quite common to explain the functioning of the montage resource in the arts”, however, in the same text he clearly exposes how cubism, collage, assemblage and literary montage, as terminological aspects of montage, They are loaded with meaning and perception of the environment and vibration of the artist, being able to conclude that this practice is not only a mechanical union of fragments from certain operations, but it is the union of elements loaded with symbolism and gives recognition to that particular perception of the artist.
As expressed in the description, the vibration of the cubes can be extrapolated to the vibration of any other body, object or particle. The filling in the figures is to give the illusion of seeing solid bodies, similar to some crystalline forms, in which the particles and elements in nature are accommodated, thus, as from the vibration of a microscopic arrangement, we can carry this vibration to the vibration of our perception, our thoughts and our environment.
Returning to the technique used to generate “Vibration”, we can then break it down thinking about two factors: on the one hand, the already mentioned work of Vera Mólnar and George Nees, who manage to alter and reorganize the state of balance of flat four-sided figures in their works, and on the other hand, montage, also referred to by Peter Bürger (1974) as a neo-avant-garde artistic practice, which in general terms is made up of fragments of images that can produce impression of movement. “Vibration” is precisely fragments of repetitions of the same figures, which are separated little by little until they are unified again, creating vibrational cycles that generate different patterns and optical sensations.
From this combination of art and science, “Vibration” is born, from advancing and delaying fragments with respect to their equilibrium position, using repetitive algorithms and mathematical operations, to generate an illusion of vibration and displacement in space and time.
Literature
VALÉRY, Paul. ([1960], 1999). “La conquista de la ubicuidad” (1928). En Piezas sobre arte. Madrid: Visor, pp.131-133. SIMÓ MULET, Toni. (2004). “Los lenguajes visuales de la modernidad: collage, assemblage y montaje”. Murcia: Repositorio Institucional de la Universidad de Murcia, pp. 1-28 BÜRGER, Peter. ([1974], 2000). “III. La obra de arte vanguardista”, en Teoría de la vanguardia. Barcelona: Ediciones Península, 3ra ed., pp. 111-149.