Inmaterial

This interactive animation pays tribute to Ben F. Laposky, a pioneer of generative art. Laposky is known for his Oscillons, a series of works that captured electronically generated oscillatory wave patterns. Using oscillators and modulators, Laposky created fluid, complex visual images that represented the dynamics of moving waves. Similarly, this animation features constantly evolving patterns that emulate the essence of those oscillatory waves. The lines drawn on the canvas change shape and position, creating a trail effect that recalls the fluidity of Laposky’s images. The visual experience is interactive, allowing viewers to influence patterns and colors through interaction, reflecting Laposky’s innovative style and offering a modern representation of oscillation and movement in digital art. This work invites viewers to explore and appreciate the beauty of the patterns generated, evoking the unique aesthetic of early explorations of computational art.

Technical, aesthetic and conceptual development

This visual work was created using p5.js, a JavaScript library for web graphics and animations. p5.js makes it easy to create interactive visual effects using an accessible programming environment. An online code editor and a web browser were used to develop and display the work. The user can modify the animation by pressing the W, A, S, D and R, B, N keys, adjusting the parameters and tones of the figure.

As Brea points out, “there are no more artists,” indicating that the traditional concept of an artist has changed significantly. Today, there are no artists in the classical sense, but rather people who produce artistic works and practices. The figure of the author has also evolved: “any idea of ​​authorship has been overwhelmed by the logic of circulation of ideas in contemporary societies” (Brea). Instead of the individual creator, we now have generators of artistic works that are based on influences and contributions from the so-called knowledge societies, or more precisely, cultural capitalism. Traditional authorship no longer reflects current reality, since new forms of production have transformed this concept. The creation and dissemination of ideas no longer depend on a single individual; These ideas are shared, modified and reused. Therefore, artistic production must be understood as the result of a collective and collaborative process. Furthermore, so-called “works of art” have ceased to exist in the conventional sense: “There are no ‘works of art’. There are jobs and practices that we can call artistic” (Brea). Instead, we have works and productions that generate meanings, emotions and cultural values. Influence manifests itself in how these productions are interpreted and experienced in cultural and emotional contexts, as well as in how those meanings and effects are promoted and disseminated. In today’s societies, the focus of art has changed: it no longer focuses solely on the initial exhibition, but on production and distribution, with a priority on dissemination. Some artistic productions are associated with physical objects, which can be owned, bought or sold. In contrast, there are artistic works in which the ownership of the object is not relevant because there is no associated material good. In the 21st century, the artist does not obtain profits from the surplus value of the objects produced. Instead, he receives compensation through rights related to the public circulation of the concept and the affection that his immaterial work generates. An artist is someone who creates content intended exclusively to be disseminated through some medium. Artistic authenticity is distinguished when a work, if it refuses to be considered art, ends up being claimed as such. On the contrary, if a production is labeled as art from the beginning, it is often denied some kind of value.

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.

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.

https://proyectoidis.org/ben-laposky/

https://en.wikipedia.org/wiki/Ben_F._Laposky

https://drive.google.com/drive/folders/1k_YHYOftpv8TZwpirhLvd0BcyOoixpXd?usp=drive_link