Ojo posmoderno

In the work you can see a group of spheres orbiting another one that represents an eye. The eye is in constant movement, looking at everything. What seems like a simple system becomes more complex the moment the user clicks on the screen, where what happens is a change in the position of the camera that observes this system of spheres. The camera position can be adjusted with mouse movements, allowing new points of view within that new point of view achieved by randomly adjusting the camera position. In this way, it is possible to access a more complete appreciation of the work, connecting the randomness of the camera position with the will of the user who chooses new points of view by moving the mouse. When you stop clicking on the canvas, the camera returns to its original position.

Technical, aesthetic and conceptual development

In the text “Between two fires: art-science and the war between science and humanities” Philip Galanter talks about Modernism, Postmodernism and what he calls Complexism. Modernism proposes the existence of a single, scientific truth verifiable with experience and reason. Postmodernism appears to deconstruct that totalizing and absolutist vision that states that there is no “truth” but rather that what exists is randomness, with the simultaneity of contradictory ideas and values. In the work the idea of ​​modernism is represented in the first thing you see. A group of moving spheres seen from the same point of view. An absolute truth. Then, with the user’s intervention, the point of view changes and moves, representing the deconstruction of that absolute truth and the randomness that postmodernism speaks of. Following the same logic of deconstruction and randomness, one can see in the work what Galanter says about authors in postmodernity: “In the postmodern world the author has died. All that remains is the unstable text, a text that can offer multiple meanings to multiple readers, who will deconstruct it.” In the work the eye of the inner sphere represents the reader, the interpreter, that is why it is in constant movement. To continue talking about the author of a work, it is necessary to pay attention to what Inke Arns says in his text “The code as a performative speech act”: when an artistic practice is carried out by a system governed by a certain procedure (a computer language in the case of this work) and is inserted into an autonomous mechanism that contributes to the creation of an artistic work, we are in the presence of a piece of generative art. Generative art describes processes defined by rules, automated by the use of a machine. When these “self-organized” processes are put into operation, they begin to function independently of their programmers, or, rather, of their authors.

Literature

Galanter, Philip. (2011). “Entre dos fuegos: el arte-ciencia y la guerra entre ciencia y humanidades”. Arns, Inke. (2005). “El código como acto de habla performativo”.