IBIDEM

This creation is made up of a constantly evolving grid, made up of points that move unpredictably. These points, in turn, leave a trace behind them, giving shape to unfathomable geometric figures. The resulting lighting effect, caused by the trail left by the moving point (almost like feedback), generates a random geometric shape, created by random parameters that give this work an ephemeral character.

Technical, aesthetic and conceptual development

This work is characterized by the absence of an explicit message, although it must be recognized that this absence, in itself, constitutes a clear message. An exhaustive analysis of the work could be carried out, explaining, for example, that I have developed a code that generates a moving grid, leaving an ephemeral and random trail. This trace could be interpreted as a symbolic representation of the transience of life. I could also expand in complex terms on the concept of pseudo-randomness, explore references to the butterfly effect, and return home satisfied with having accomplished what is commonly considered “doing things right” in the artistic field, by following a conventional formula.

However, I think that would be the easy route. I note that defining the medium itself as the message, or rather, the way we use that medium to create a work, as Marshall McLuhan proposes, can become an excuse to situate the work within a specific temporal and technological framework. The repeated statement of “It’s incredible, considering the era” seems tired to me. Managing to use a medium in an exceptional way is undoubtedly a notable technical achievement, but it does not always imply a significant artistic advance. I do not wish to belittle the technical part of a work, since, as the author indicates, it is usually underestimated. However, I do not intend to consider this progress as something inconsequential, since someone could take advantage of it to generate a substantial work.

Although it is undeniable that technological advances and media updates change the way a work is generated and reproduced, I feel that to attribute so much importance to the context in which the work exists is to limit it to a comfortable space. I appreciate the concept raised in relation to cinema: “If it works it is obsolete.” This approach proposes the destruction of the media, taking them to the limit, surpassing them. However, it is paradoxical that, if the medium is the message itself, to prevent it from being obsolete, one must try to transform it, invert it, turn it or twist it.

In line with what has been stated, I want to emphasize that I do not intend to express a position contrary to contemporary or experimental art. In fact, I share Aira’s perspective, who refers to contemporary artists and their task of incorporating the undone into the done, especially since the saga of Modernism declared itself over.

Reflection on the originality and classification of the work into genres turned out to be a fruitless effort. The understanding, supported in part by Aira’s ideas, reveals that all art produced today is contemporary, and the diversity of subgenres can be considered infinite, with their cataloging being a secondary and irrelevant aspect.

In conclusion, I support the idea that the work does not need to be justified by a textual concept. Its validity does not depend on excuses or defenses, since the work exists by itself, regardless of names and definitions. The message inherent to the work, being “nothing”, can encompass all possible interpretations. I quote Richard Wolheim, cited in turn by Aira, to emphasize that even the most dogmatic formalist cannot completely disassociate himself from narrative. All the messages that this work may suggest are equally real and valid.

Literature

MARCHAN FIZ, Simon. (1994). “Ambientes y espacios ludicos”. AIRA, Cesar. (2013). “Sobre el arte contemporáneo”.

MCLUHAN, Marshall (1964, 1997) - “El medio es el mensaje”.

AIRA, César. (2013). “Sobre el arte contemporáneo”.