La desesperación

Desperation is a work whose main objective is to transmit the reflection of his own moments of crisis and improvement, finding comfort and understanding. It contains interactivity that when you hold the right click, the square brush color changes in gray scale. It also aims for the user to feel identified, the white square in the center is our conscience, which when painting the background black or dark scales means stormy or dark thoughts and painting white when calm and positivity comes, but the obstacle is the moving lines that cover those good thoughts as you want to paint completely.

Technical, aesthetic and conceptual development

For its aesthetic development, 2D primitive figures were used and to make them, drawing functions such as line and rect were used. The color mode is 8bit deep grayscale. Borrowed from author Vera Molnár, an early pioneer of computer art, the radical systems-based approach helped set the parameters for contemporary intersections between art and technology.

Molnár also focuses almost exclusively on the use of squares and rectangles, introducing subtle changes in their arrangement, proportions and shapes. These variations give rise to structures that seem to expand towards infinity, capturing an instant within a series that could continue forever.

I was mainly inspired by his works Inclinaisons 32, 1971 and Strates 1985, relating it to Brea’s text specifically “There are no works of art.” The central idea is that art is not defined by the creation of concrete objects, but by the effects it produces in the public sphere, effects that are symbolic, intensive, and affective, effects that can influence the way people experience and understand the world.

Literature

Sandra Valdidvia.(2024) “Era Mólnar, una pionera del arte generativo: del algoritmo a la nft”

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.