loop

“loop” is a project that at first only shows us the structure of a human face with eyes closed based on the skeletons of the first computer-generated images of human parts. The idea is that the person interacts with the eyes to open and close them, first one, then the other. When both are open, you can see a succession of videos in the background that pass quickly and a frenetic and disconcerting audio that tries to produce a sensation of over-information and anxiety similar to what the current world generates, in large part, thanks to the media and social networks for which the product is not what they offer, but your time and attention.

Technical, aesthetic and conceptual development

The work is composed of a human face in which you can click on its eyes to open them, once we do so we can observe through them an attempt to express a feeling of overwhelm and despair generated by the immense amount of content and information created and consumed daily. Aira mentions how contemporary art moves away from the idea of ​​creating tangible objects to focus on concepts and ideas that require discourses to be understood. This dependence on discourse and the need for explanations and justifications increases the complexity and the associated volume of information. Furthermore, contemporary art and its criticism generate a massive amount of texts, images and reproductions that, far from transmitting the essence of the works, produce a constant “race” between creation and its documentation. And this not only applies to art, but to all media. This reflects the content saturation of our time, where art, criticism, reproductions, and speeches add to a universe of information in constant expansion, in which the “true” work is hidden or diluted in a sea of ​​interpretations and partial reproductions. “Contemporary Art, by wanting to be contemporary, has annulled time, compressing it to the present, and must be everywhere at the same time.” Overinformation not only affects the consumption of art, but is integrated into its creation and reception process itself in contemporary times. “An argument on which the denigration of Contemporary Art is usually based, in fact the central argument that the Enemy of Contemporary Art exhibits, is that today the work of art cannot be sustained without the discourse that surrounds and justifies it. It does not speak for itself but needs experienced ventriloquists, usually critics or curators.”

This work uses technology to question it, seeking to generate reflection in the person about their role as a consumer and product in the digital world. Software art, by making codes visible and challenging, reveals how software itself contributes to the excess of data and information in the digital world. Arns suggests that the code is not neutral; Their decisions and technical constructions carry a cultural impact that is part of the “overload of information” in which we live. That is, software art not only generates visual or interactive information, but also introduces meanings about the code itself that are normally hidden, adding new layers of interpretation.

Literature

• AIRA, César. (2013, 2016). “Sobre el arte contemporáneo” en Sobre el arte contemporáneo. Buenos Aires: Literatura Random House.
• ARNS, Inke. (2005). “El código como acto de habla performativo”. En Revista Artnodes.