Pseudo extensión de tiempo

“Pseudo extension of time” is the result of experimentation with trigonometric functions, loops and different programming tools with the aim of generating a visual environment that does not accompany the music, but rather that they function as two elements that complement each other and are directly related over time.

Technical, aesthetic and conceptual development

The title of the work refers to the fact that the audio piece was created using the loop points of the Casio FZ-1 sampler, to create a pseudo time extension effect, which is the process by which the speed or duration of an audio signal can be changed without affecting its pitch.

As this was my second work on the subject, I felt challenged by César Aira’s idea in his text “On Contemporary Art (2013)”, that the work of art always implied its own reproduction. Being exposed to perception and memory, it is inevitable that they shed vestiges of themselves in time and space, thus being the work of art the model for their reproductions. I found myself in the position of realizing, while doing my second job, that I was unconsciously following the same concept and using similar techniques as my previous job. In turn, César Aira says that the contemporary work of art is reduced to technical reproduction to the same extent that it advances and is perfected. He calls this effect “reproduction technology”, which has been perfected in recent decades by incorporating movement, sound, and with digitalization the possibility of compressing large amounts of information in the same space. This gave me the idea of ​​continuing along that path, but applying much of the knowledge acquired in this part of the year, adapting it to the initial idea. I thought again about geometric abstraction, taking as aesthetic references artists such as Frank Stella, Piet Mondrian, and on the other hand, pioneers of digital art such as Vera Molnár and Lillian F. Schwartz for some of the scenarios. The geometric overlay in live random movement has the effect of creating a new depth, a third dimension, a technique also used in early digital art works.

The proposal of the sketch and my idea for this work made me reflect again on point 30 of José Luis Brea’s text “Redefinition of artistic practices s21 (2008)”, in which he says that the artist as a producer is a generator of narratives (using the moving image in its capacity to expand in an internal story time), an inductor of intensified situations of encounter (by the generation of events) and a producer of mediations for their exchange in the public sphere. (generation of mediation in virtual space).

Literature

AIRA, César. ([2013], 2016). “Sobre el arte contemporáneo” en Sobre el arte contemporáneo. Buenos Aires: Literatura Random House, pp. 11-56.

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.