Geometria del caos
“Geometry of chaos” is a visual work that wants to explore the delicate balance between order and chaos of contemporary experience. With a combination of randomly generated curves and lines, a web of figures is formed, which simulate vibrating in space, like a network that extends, twists, transforms in constant change. When the code is executed, the composition is transformed, to offer an always different, always new proposal, which shows the transience and volatility of the world.
The work tries to express a feeling of tension and harmony at the same time generating dissonance. The lines that cross, that rub, and that sometimes intertwine without touching each other and that cease to be just geometric figures and become the reflection of human relationships: some are visible, others are practically non-existent, distant and almost invisible. These connections in general are in constant movement, over an area in which the certain and the uncertain, the light and the dark coexist in a continuous process of transformation. “Geometry of chaos” is a symbol of the relationships, the links, the struggles that forms have for a place in a world, in which the paths traveled are uncertain and the destinies are indeterminate.
Technical, aesthetic and conceptual development
This piece uses a grayscale palette. It is made up of dynamic curves and lines that are generated and distributed in a random and unpredictable manner to create a moving image, thus generating the illusion of a structure that seems to vibrate and constantly move.
This dynamic image is inspired by the works of two great electronic art artists: Ben F. Laposky and Georg Nees. They made their visual pieces through computer-generated geometric shapes. Laposky, for example, was known for his oscillograms, images generated from wave patterns on an oscilloscope, while Nees used mathematical algorithms to create repetitive geometric compositions. This is how “Geometry of Chaos” takes these approaches, creating a visual structure that plays with the viewer’s perception and suggests constant movement and change.
On a theoretical level, the work shares José Luis Brea’s idea that contemporary artistic practices in the postmedia era must separate themselves from the old labels of fine arts to address other tools and modes of production of meaning. Using code as a tool, “Geomtria del chaos” moves away from the norms of traditional visual art and relates the mathematical algorithm to visual aesthetics. Likewise, Brea emphasizes the importance of the “performative character” of electronic art, where “the work is not a finished thing but a continuous process, a flow.”
Literature
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.