Unidad

I perceive us as small nodes within a large infinite network and we group together like cells to form a large system. How would it be? because they say that everything that is outside is part of who we are. Will it be true? In my case I feel that my body and mind dissociate at many moments. Will reason and flesh ever be completely separated? Just live on ideas and let that be the only fuel to continue? Or this only happens in my dreams.

Technical, aesthetic and conceptual development

This work arises from Frieder Nake’s, sets of straight lines, 2018. It is a composition of straight lines that are grouped together forming several concentric patterns; All the lines overlap and intersect until they form more complex networks or figures. The visual composition of the work is made up of straight lines that are organized in such a way that they create different geometric patterns. These patterns can vary from simple linear formations to complex networks of intersections. The position, length, and orientation of each line varies with each frame.

The reflection that I was able to get from José Luis Brea’s text “anti glossary on electronic art” and that I related to the previous work, is the following: In these times in which technology moves faster than language, we continue to advance through an enormous paradigm, whose essential panorama continues to be everything related to computers.

Everything seems to go very fast, we live with the technologies that are in force, the novelty and other devices that are disappearing (almost none at this moment refuse to exist, and manage to survive relying on nostalgia). Everything updates pretty quickly and money seems to buy the future.

What amazes me most is the massiveness and speed with which information moves, one of the great advantages that networks have brought. It is not necessary to move to acquire knowledge. And where will all this go?

Art adapted very well to digital and new forms emerged, and in the search for its new manifestations, which are not so new because they emerged many decades ago, great references appeared. One of them Frieder Nake, one of the pioneers of algorithmic art.

His early works of generative art were inspired by the paintings of Paul Klee; simple geometric lines and figures forming sets to form an even richer composition; until you form your particular style. He shared a lot of knowledge working on large projects with colleagues such as Georg Nees and A. Michael Noll, he was a professor at many universities, including Bremen in Germany, he won First Prize in the Computer and Automation Computer Art Competition in 1966 and in 1997, his teaching work was awarded the Berninghausen Prize for Excellence and Innovation in Teaching. He published several writings, one of them: “Aesthetics as information processing” where he says “the individual human subject simply no longer existed, once he had established the limit conditions for the image to be computed” (cited in “Creacionhibrida.net”, 2024). It reminded me of Brea’s text “redefinition of artistic practices.”

The understanding that this writing left me has to do with the free circulation of ideas and universal access to information, as a rhizome, and a fundamental participant in intellectual production in a social framework. Within this is artistic production.

In principle the idea becomes present, when it manages to emerge from the dream; That desire is materialized through the tool that best adapts to whoever is producing, this mainly transmits their significant and affective experiences.

What is produced in this way is disseminated and the artist as a producer intervenes in the domain of experimentation and not in that of representation, he is a generator of narratives of mutual knowledge, he socializes his experiences and mediates the exchange of these in public life.

Literature

BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial, pp. 4-8.

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.

Valdivia, S. (n.d.). Frieder Nake, pionero del arte algorítmico. Creación Híbrida. Recuperado de https://creacionhibrida.net/frieder-nake-pionero-del-arte-algoritmico/