<la-piscine>
Back to home
Artwork presentation

Tiempo Ilusión

Artist: Lucas Milton Dario Burgos
Year 2024
Semester First semester
Fecha September 10, 2024

It is a digital piece which is composed of a pattern of black and white lines juxtaposed in two different variables, straight and curved. This work can be modified through different previously established interactions, which generate in the image, through the displacement of the lines, the impression of movement, movement that will vary depending on the interaction chosen by the user.

Technical, aesthetic and conceptual development

The work begins with a main idea, in researching the works of Vera Molnar I came across “Perspective inversée 2” (1957-07), an installation that was presented as a 4.5 m x 43 m wall painting. in Frac Lorraine (Metz, France). This work consists of a continuous pattern of black and white lines and their modification in rhythm throughout the entire canvas given the differences in size, such as the inclination of the lines. Inverted Perspective 2 immerses the visitor in an optical nightmare, where, within the black and white stripes, gray dots pretend to appear and disappear. As you move, the walls become mobile, fluctuating, the reference points fade.

“Tiempo Ilusión” began with a blurry idea and without a clear direction. Initially, I tried mixing randomly generated circles, but discarded this option due to lack of rationale. Then, I decided to approach the project from a more solid foundation, conducting detailed research to clearly define its purpose.

“Tiempo Ilusión” takes the idea of ​​variants and thus also the different narratives that will be added in the different instances of experience with the work over time. “The use of the technical image and the movement-image, in its capacity to expand in an internal story-time, multiplies the possibilities of generating narratives.” (Brea, 2008). How one as a user can be an interpreter, and at the same time, an active modifier of the work in the face of the availability of manipulation that it offers, with the intention of re-discovering and forming an even more personal connection with the piece. “…there are producers, yes, but they (ourselves) are also a certain form of ‘products’.”(Brea, 2008)

While Molnar discusses variants related to the scale of a work and how its meaning and freedom can change depending on the medium through which it is transmitted, in my case I decided to apply variants based on time instead of modifying the scale. This allowed us to explore the impact of speed and movement on pattern perception rather than altering its size or format.

The code draws a set of vertical lines across the screen. Each line has its own starting point on the canvas. Over time, these lines move horizontally. As they move, the code ensures that when a line reaches the right edge of the screen, it reappears from the left edge. Generating the illusion that the pattern of lines moves continuously. The speed of this movement can be adjusted, which changes the way the pattern looks and feels.

At low speeds, the movement of the lines is clear and perceptible. However, at high speeds, the lines move so fast that the change in position is distorted, generating different illusions of movement.

Throughout the experience with the piece, we can adjust the speed at which the lines move across the canvas. By modifying the speed in the established functions, we observe how the lines acquire movement, accelerate, decelerate and even seem to recede in the opposite direction.

Right click: Set the speed to 2. Space ( ): Sets the speed to 541. Speeds up movement. ‘i’ key: Sets the speed to 543. Reverses the movement of the background. ‘r’ key: Sets an extremely high speed of 35784651. Speeds up the background, “slows down” the figure. ‘0’ key: Stops movement by setting the speed to 0. With these controls, users can experience how different speeds affect the pattern and perception of movement in the artwork.

Literature