ON/OFF

Everything was fine and working normally until I started to notice a strange frequency, suddenly blue screen, fatal error.
Things happened…and I am going to continue explaining them in this kind of technological nonsense. My Windows restarted, my TV turned off, my module broke, my RAM was damaged, my font was almost destroyed. Am I glitched? I wonder. Obviously I did a factory reset, I almost had to change the cabinet, it wasn’t completely erased, some of the cache remained. I almost died that day, now I’m reconditioned. But nothing is simple when you are reconditioned, some programs no longer run as before and others do not work at all. There are times when processes exceed the capacity to respond and other times when everything works incredibly well, as if it were magic, as if all the cables were in perfect condition.

Technical, aesthetic and conceptual development

This work was mainly inspired by Vera Molnar who used simple shapes (circle, square, triangle) and constantly and continuously transformed them, creating an algorithmic disorder by virtue of a series of random figures. In the technical sense, the artistic work also turned out to be inspired, unknowingly, by Molnar. When investigating the artist I was able to notice that she intentionally intervened by generating self-imposed limitations in the infinite randomness that the computer presents to us to create disorder, for my part in the code I also make an intentional intervention through mathematical calculations to transform the algorithm and produce visual disorder.

Paraphrasing Brea when he mentions that the image-movement has the capacity to expand in a given time, generating different narratives which are usually situated and contextualized, I consider that over time this work mutates, we can intervene in it but we do not have total control, the narrative and consequently the socialization of the experience maintain the same meaning trying to generate a vivid sensation of a specific moment. Conceptually, it is an affective production with the character of an intangible good that aims to “feed our needs for meaning and desire, meaning and pleasure”, from this point of view and understanding that artistic practices are in constant transformation. “ON/OFF” tries to present a social exchange where the circulation of meaning and information is presented as an optical bustle, a riot of figures, a broken production. Under this condition of algorithmic disaster that the work generates, I wonder what art is today if it is the same works of art that are submerged in different social structures that present paradoxes that call them into question, contradictions that exceed and overflow them, if we focus on the parallelism “if it is art it is not art” we suggest that each artistic practice will be affected by the social sphere since when it is exposed it becomes public domain therefore it will be evaluated and defined by the acts of exchange that they produce. In this way, taking into account the structures and paradoxes they entail, we can reflect on the meaning and meaning that each work aims to demonstrate and how these aspects are directly modified by the subjectivity of certain social groups and their geo-bio-political environment.

Regarding the aesthetic level of the works and their increasingly relevant importance in the contemporary world where everything that is “aesthetic” is visually beautiful and if it is not, it becomes immediately inconsumable, a disposable and rejected work. This latent and growing aesthetic romanticism is still important in my work, however I consider that it is aesthetically displeasing and that this has a purpose.

Literature

BREA, Jose Luis (2008). “Redefinicion de las practicas artisticas” Barcelona.

PUIG MESTRES, Lluis Eloi (2004). “La aleatoriedad en el computer-art”. Barcelona.