Primivismo temporal

The idea of ​​the progress of society can be interpreted, in my opinion, as a fantasy that we people invent to maintain a posture of solemn evolution, thus separating ourselves from the rest of life on the planet. We simply “drift.” The key concept of the trailer is even funnier, as it is simply a perception. If we maintain that time is infinite, we will always be obviously devolved. I maintain then that society must be analyzed as a casual event of the moment, thereby facilitating the fascination with its actions without the need for everything to be “for or for something.” What would the universe think of us? As time affects us, it was the starting point for creating the work, being provoked by the variety of examples that Mcluhan raises in “The medium is the message.” Time is a factor that appears in infinite formulas and is a variable constantly taken into account. So, how can we not take time as a variable for our daily situations? It is logical to keep it in mind. But the passage of time is not bad in itself, but in how it affects us it can seem harmful to us.

Technical, aesthetic and conceptual development

The citations to Mcluhan (The medium is the message) and Camnitzer (The terms) being obvious, I move on to declare about the technical structure. Imitating what happens when the eyelids are squeezed, the colorful and flying ellipses surround the viewer, confronted with the reflection of their own gaze, and how it changes - or drifts - as they pass. The code is very random (as is my preference apparently). It has lighting adjustment and basic 3D figures, wrapped in a textured image of an eye. The sound was built by assembling jazz drums with percussion recorded with household objects from my house, added to a large number of distorted voices with common alterations such as saturation, reverb and extensive delay, and of course phase effects such as phaser and flanger. I feel Molnar, the artist I chose for Practical Work No. 1, present in my conception of randomness. They add artists like Joseph Pelling and Rebecca Sloan (Don’t hug me I’m scared), especially their episode of the series that talks about time. Aesthetically the work is quite crude. You can see both spherical figures and ellipses. It recovers the materiality itself of the formative that one seeks to eliminate (for some reason) when becoming professional. I can say then that my amateurishness when facing the code achieves an aesthetic, crude?, or even ironic.

Literature

• MCLUHAN, Marshall. (1964). “El medio es el mensaje”. Massachusetts: Paidós Ibérica S.A
• CAMNITZER, Luis. (2008). Los términos - indefiniciones y diferencias