Sinek

Sinek is an interactive re-imagining of the work “Feeding Time” by Charles Csuri. This digital work explores the evolution of computer art, linking early algorithmic experiments with modern digital practices. By inviting people’s participation, Sinek blurs the line between artist and audience, creating an experience that honors the history of computational art while creating a reflection on the relationship between creativity, technology and audience in the digital age.

Technical, aesthetic and conceptual development

Sinek is a work of art that arises from the re-imagination of “Feeding Time” by Charles Csuri. Csuri’s 1966 piece was one of the first computer-generated works printed on paper with ink.

Sinek meaning “The Fly”, transforms this static print into an interactive digital experience that creates a bridge between the concept of early “computer art”, defined by José Luis Brea in 2002, and contemporary new media practices. Created using p5.js, this work maintains the original and simple image of a “fly” while introducing interaction and distribution on the web.

This work explores the evolution of digital arts, linking early algorithmic art experiments with modern digital experiments, while still honoring the value of randomness, chance, and simplicity of the common drawings presented in Csuri’s early works. This is done by using random values ​​in your code and an image created by simple geometric shapes, but also integrating moving elements.

By inviting people viewing the work to participate in the artistic process, Sinek seeks to blur the line between artist and audience and represent the redefined concepts of art in Brea’s 2008 text, where Brea mentions how artistic practices are now about signification, affectivity, and production, and turning the audience into the subjects of the experience.

This reimagining of the concept of “computer art”, which Brea had defined as “dead” in 2002, shows how the early model spirit of computer art can still be revived, transformed and made a subject of interest through very simple modern technologies and building on its aesthetic foundations by introducing new layers of meaning and participation.

We are in a world today where interaction, especially digitally, is part of everyone’s life at any time and where the value found in all aspects of their lives, whether commercial or artistic, is defined by their relationship and contribution to the object. Thus this work also evolves with the relationship between creativity, technology and audience, inviting people to contribute and create new meanings from the early history of generative art.

In conclusion, Sinek as an interactive re-imagining of “Feeding Time” serves as a testament to the continued relevance of early computer art concepts. It honors the historical significance of Csuri’s original work while introducing elements of interactivity and participation that characterize contemporary digital art. Through this transformation, the work not only pays homage to its roots but also points towards new possibilities in the realm of new media.

Literature

BREA, José Luis. (2002) “Breve (y desordenado) antiglosario -o diccionario de tópicos- sobre el arte electronico” en La era postmedia. Salamanca: CASA Editorial

BREA, José Luis. (2008) “Redifinición de las prácticas artísticas” en El tercer umbral. Murcia: CENDEAC