Crear o consumir

It is a generative image that is built from the reflective movement of that disjunction. The monotonous rhythm reveals a pattern that repeats itself. Supporting what has already been established, we see the movement of lines oscillate between disappearing and recomposing themselves. There is a latent presence in the center: what is coming out reenters. The work opens the possibility, only if the observer actively participates, of intervening in the visual experience.

Technical, aesthetic and conceptual development

The title of the work “Create or consume” seeks to synthesize the journey of a reflection that emerged from the texts of BREA, José Luis. (2008). “Redefinition of artistic practices (s. 21)” and VALÉRY, Paul. ([1960], 1999). The conquest of ubiquity (1928). Taking as an aesthetic reference the pioneering artists of the electronic image Ben F. Laposky and mainly Herbert W. Franke, the work attempts to capture essential elements of their compositions: the lights resulting from this analog process carried out with machines are translated in this case by an electronic device into data, it is based on lines and curves to recreate the movement generated by those oscilloscopes used and it plays with the symmetrical arrangement of those impressions. Making a parallel and contrasting the means used, Valery mentions in his text that the power of the men who instituted the Arts to act on things was insignificant compared to that of the present. The author anticipates that such advanced media developments, which occurred in his time and would continue later, as well as the ideas and customs they introduce, guarantee profound changes in artistic practices. The transformation of the technique of the arts will act on the idea of ​​art and the process of creation. Starting from a reflection proposed by Brea’s texts, we understand 21st century artists as producers and products. The artist produces himself in a market of aestheticizing value. We could ask ourselves where the market focus has been placed for the development of media, automation and that conquest of ubiquity that Valéry mentions. If, for example, on the one hand in the possibility of promoting diverse and innovative ways and forms in which artistic practices are created and developed or on the other, from the perspective of the viewer, the possibility of living increasingly intense sensory experiences of aesthetic consumption. A movement is then made between those two words, create or consume, in search of questioning certain limits, mechanisms and apparatuses imposed in capitalist societies. The novel but unique thing that the observer can bring to this work, in terms of individualized aesthetic will and moment of realization that will hardly be repeated in the same way, always responds to the rules imposed by the programmed system. What is created is consumed again.

The work “Create or consume” combines elements such as conditionals, transformations, repetition structures and movements in two types of base figures: lines and circles. Using these tools we seek to create an effect of oscillating movement that plays with a path of lights. There is a generation in the absence and presence of images that repeat themselves.

Literature

VALÉRY, Paul. ([1960], 1999). “La conquista de la ubicuidad (1928)” en Piezas sobre arte. Madrid: Visor, pp.131-133.

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21).” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC, pp. 106-113.