Vibratio

The work Vibratio follows the artistic trend of generative art, the use of algorithms and computer software to create visual pieces. It is enriched by the vibrant essence characteristic of the kinetic current. Just like Lillian Schwartz, who manages to capture the viewer’s attention in ways that static art cannot. In turn, the composition and order of the forms is strongly inspired by the idea of ​​the artist Frieder Nake, whose artistic concept is distinguished by his strong belief in the structure and process of the algorithm as the basis for the construction of his generative work. In addition, Vibratio uses the grid and order of Nake’s work Polygon Drawings as a guide, playing slightly with perception as occurs in Op Art.

Sensory, participatory and immaterial; Vibratio, can be considered a characteristic product of the redefinition of artistic practices in the 21st century. As José Luis Brea points out, “The new economy of art will no longer understand the artist as a producer of specific merchandise intended for the circuits of luxury in the economies of opulence, but as a generator of specific content intended for social dissemination”[^note01].

Technical, aesthetic and conceptual development

The device is composed of exogenous data: Few variables, a couple declare the distance between grid lines. Three others declare the gray scale used. Also, from endogenous data, the simple interaction of grays within a minimum range of 10 and maximum of 50 values.

The order is made up of a white base background, with a double grid. The small one, 10 pixels between fine lines of gray and solid value. The large grid, with a difference of 30 pixels between thick line, with a varying gray value and transparent. The image is composed of a variety of squares with transparency, whose gray value is variable, of size 30 pixels aligned with the small grid and merged to the large grid.

As a result of experimentation, after the exclusive use of two hundred and fifty-six shades of gray, Vibratio is achieved. Which seeks to satisfy the need for brief stimuli, making it easier for viewers to understand the work through simple and repetitive kinetics. At the same time, for an audience that is a little more daring and, possibly, difficult to please, it consists of a brief interaction that generates a rhythmic visual product. The simplicity of the work goes hand in hand with the simplicity of the optical effects achieved behind the scenes, since, although we talk about “kinetics,” at a code level this term could be replaced with “visual effects.”

The reevaluation and reflection of the artist after the completion of Vibratio opens the doors to delve with curiosity into the position of the figure of the artist as a generator, rather than a creator, just as the artists Schwartz and Nake presumably questioned themselves.

Literature

• Brea, J. L. (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 (pp. 4-8). Salamanca: CASA Editorial.

• Lillian Schwartz. (n.d.). Wikipedia. Retrieved September 3, 2024, https://es.wikipedia.org/wiki/Lillian_Schwartz

• Lillian F. Schwartz explora el uso de computadoras para crear nuevas formas de arte y cine. (n.d.). Creación Híbrida. Retrieved September 3, 2024, https://creacionhibrida.net/lillian-f-schwartz-explora-el-uso-de-computadoras-para-crear-nuevas-formas-de-arte-y-cine/

• Frieder Nake. (n.d.). Proyecto IDIS. Retrieved September 3, 2024, https://proyectoidis.org/frieder-nake/