Des-orden controlado

The work consists of a group of squares of different sizes and positions. When you click you can see how these “fall” to the end of the canvas and remain one above the other in a linear manner. The background changes color in a gray scale.

Technical, aesthetic and conceptual development

For this work I was inspired by George Nees, he studied mathematics, physics and philosophy. The first drawings are based on algorithms and were created using a plotter (a printer that prints only linearly). In his works you can see his interest in demonstrating that science and art are united. Talk about how a graph goes from order to disorder or vice versa.

I decided to be inspired by him based on aesthetics, since I liked his works visually.

For the creation I based it on the allusion to order in disorder, the interaction introduced generates an apparent chaos that results in an ordered form.

According to Brea, “There are no works of art. There are works and practices that we can call artistic. They have to do with significant, affective and cultural production, and they play specific roles in relation to the subjects of experience, but they do not have to do with the production of particular objects, but only with the public impulse of certain circulatory effects: meaning effects, symbolic effects, intensive, affective effects..”

With what I have mentioned, I understand that art is not in the objects themselves, but in the effects that generate meaning, symbols and affects in the viewer; And I relate it to my work since this is not simply what can be observed at the beginning (squares of different sizes in different positions), but in the subjective experience and in the effects that it generates when interacting (clicking to cause the squares to fall), creating a space of dynamic meaning, where the symbolic and affective effects transcend the particular objects, as the fragment indicates.

The work shows how elements that could seem chaotic (squares that could fall in a disorderly manner) actually follow a defined pattern (they fall linearly and stack). Referring to what Brea says, “The true tool by which everything we call art in the 20th century has been produced is called: immanent self-criticism. Only those languages, or domains of significant production, in which a critical exploration of their own limits is carried out contribute productions that we should legitimately consider “art.”

Immanent self-criticism proposes that a work of art is validated when it critically examines its own limits and the language it uses. In this case, the squares that fall in order in the sketch are not just geometric figures; They also represent a reflection on the limitations of the code, the control of randomness and the rules of the digital environment. By using code to generate a visual aesthetic, there is an implicit critique of what that medium allows and what it restricts.

Literature

https://elartedigital.wordpress.com/artistas/george-nees/

BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial, pp. 4-8

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC, pp. 106-113.